What does a cultural power mean to young people?

Editor's Note: The "14th Five-Year Plan" proposes to prosper and develop cultural undertakings and industries, and improve the country's cultural soft power. Promote the construction of a strong socialist cultural country from the aspects of improving the degree of social civilization, improving the level of public cultural services and perfecting the modern cultural industry system. What does a cultural power mean to young people?

1 means the ideology, mental outlook, civilized fashion and code of conduct that meet the requirements of the new era. It means the prosperity of cultural undertakings, the introduction of cultural products, the protection of cultural heritage and the inheritance of cultural traditions; It also means telling the story of China well and strengthening foreign cultural exchanges and multi-level civilized dialogues.

2. Let young people talk about "Touchable China", Wang Peinan. In 20 19, Li became popular in China overnight. People were surprised to find that this Sichuan girl gained more than100000 fans on the YouTube platform. Videos that only provide Chinese subtitles do not affect the enthusiasm of overseas users to subscribe and pay attention. Some overseas fans even set up a subtitle group to translate Li's video content into English.

3. coincidentally. In recent years, Li and other young amateur bloggers, such as Xiao Ye in the office and Xiao Ge in western Yunnan, have entered the field of vision of overseas audiences. They have more than 9 million and 6 million followers on the YouTube platform, respectively, and they are among the top YouTube bloggers in the world. Young people who are active on the Internet platform have become a new force in China's external communication.

4. Year 20 1 1. China began to put a series of national image propaganda films on the big screen of Times Square in new york. Putting "The Face of China" at "the crossroads of the world" is considered as an attempt by China to engage in public diplomacy with a more active attitude.

5. From the promo in Times Square to the popularity of Li Zikai. This decade has witnessed a rapid increase in China's economic strength and international influence, as well as a quiet change in its ideology and discourse style. The faces that appeared in Times Square in new york ten years ago were Yao Ming, Yuan Longping and Yang Liwei. Ten years later, the faces that appeared in front of netizens around the world were Li, Office Xiaoye and Little Brother in West Yunnan. Behind the change of "protagonist" coincides with the change of foreign communication discourse brought about by the rise of digital media.

6. When social media such as Facebook and video content production platforms such as YouTube and Tik Tok become the main portals of Internet traffic, young Internet content producers are duty-bound to take over the banner and become a new force in China's external communication.

7. Why young people? First of all, they are more familiar with the discourse system and narrative mode of the Internet platform. Compared with digital immigrants, which migrated from the traditional media production and consumption environment, young people who grew up with the Internet and social media, as "digital aborigines", are more familiar with the expression logic of digital media, and the content they produce is more suitable for the needs of the target audience.

8. second. With the rise of video platforms such as YouTube and Tik Tok, the Internet has become more and more "visual". Compared with words, video content naturally has stronger cross-cultural communication ability and is easier to be understood by different cultural groups with language barriers. Therefore, it is easier for young people who are used to using YouTube and Tik Tok to cross the boundaries of language and culture, and to move and impress overseas audiences with the content produced by visual texts.

9. Third. Young Internet content producers grew up in a more modern and open China, so it is easier for this generation to talk about their life experiences with overseas audiences, which makes their content close to reality and full of life interest. Both the rural life in China presented in Li's video and Xiao Ye's description of the life of modern urban youth in The Office contain life-oriented scenes that are difficult to find in the tagged narration of traditional image propaganda films, and are more likely to resonate with overseas young people.

Therefore, 10. The combination of the discourse logic of digital media, the cross-cultural characteristics of video texts and the unique life experience of young people has formed a new way of external communication in the Internet age. For the post-90 s and post-00 s who don't have too heavy historical burdens and painful memories, they can express themselves in a more confident and relaxed style. They inadvertently incorporated young people's understanding of China's life and times into their works, telling a "China story" different from the past.

1 1, from this perspective. The ten years from the putting up of the propaganda film in Times Square to the main fire of Li et al. are the transformation from the traditional mass communication to the internet focus communication, and also the transformation of China's story from a single national narrative to the participation of multiple subjects in narrative construction. If the traditional external communication is responsive, it is more about eliminating prejudice, responding to disputes and changing the stereotype formed by overseas media reports on China, then the external communication led by young people is constructive, and it is more about telling stories and sharing experiences.

12. If the image propaganda film ten years ago still made overseas audiences feel a little distant, now Li and Xiao Ye in the office did bring a "touching" picture of China to let overseas audiences know a "daily" China from a scene closer to the real life of China people and the way the new generation of young people in China understand life and the world.

13, for young people growing up in the digital media era. It has become a part of his life to brush Tik Tok. After they deeply participate in and understand the content logic of the video text, more young people like Li He, the office grandfather, are bound to go overseas and become a new generation of narrators of this "everyday" China story.

14, break the symbol of "Facebook". Invite culture out of the museum.

Wu Heng, 15. When I was an exchange student in Europe, I gave some ballpoint pens in the shape of Peking Opera dolls as gifts to my local roommates to thank them for taking care of me. Small gifts are deeply loved by everyone and even become their "show off" capital. A friend of mine proudly gave me feedback the next day. Colleagues are curious about the Peking Opera on the ballpoint pen, and all envy him for making a friend in China.

16, as an international student. Of course I was proud at that moment, which proved that our China culture is very attractive!

17 but sometimes, this "attraction" also brings me confusion. For example, my classmates make friends with me, a China native. All they talk about is how Chinese food is so delicious. Chinese characters are so mysterious. How do you pronounce your name? In the eyes of westerners, "China culture" seems to be all fossils in museums. They watched curiously, but they never understood. Moreover, the "exhibits" in the "museum" seem to have not been updated for decades. When it comes to China, it is nothing more than Beijing Opera, Giant Panda, Great Wall and Chinese food that have been "westernized".

18 of course, this was almost ten years ago, and now things are a little different. For example, in recent years, Li became popular on foreign video websites and was regarded as a "goddess" by foreign netizens. This is a noteworthy phenomenon. China peasant women grow vegetables, chop firewood and cook, and build an ideal Chinese rural life. Almost every video has been played overseas for more than 5 million. Isn't this also a cultural attraction?

19. Actually, Li didn't deliberately "show" China culture. Her popularity overseas is more unintentional. It is precisely this kind of "unintentional insertion" that can give us more enlightenment. Our profound tradition has provided enough rich material and endless spiritual source for cultural development, and we need to believe in the power of this. Throughout the year, every meal actually contains "culture". For example, the timely eating in Li's video, her companionship with grandma and the help of villagers all contain China people's philosophy of life, but we may ignore the beauty and details and their subtle guidance to our lives. Li's works have nothing to do with "high-end", but inadvertently, some spiritual cores in China's traditional culture "come alive" and are presented in a form that is approachable and highly suitable for modern people's aesthetic taste, which is exactly where she is superior to those symbolic "China elements" in the past.

20. In recent years, it is easy for us to observe a phenomenon, that is, we are more and more consciously saving the lost tradition, both aesthetically and spiritually. I'm afraid it was unimaginable in the early years. A documentary featuring poets and scholars in ancient poetry, such as Like a Water Moon in the Hand, can gain considerable attention. On the more popular cultural level, "Chinese style" is popular among young people, and the cross-border prosperity of "national tide" complements each other. Among them, I think the most gratifying phenomenon is that the Forbidden City, a century-old shop, put down its posture and made a series of creative cultural and creative products with a relaxed attitude. On the one hand, the beauty of classicism and the spirit of classicism have been rediscovered; on the other hand, "culture" has stepped out of the old road and collided with modern culture and commercial culture actively, resulting in unexpected sparks. We cherish tradition and are not afraid of innovation. Tradition can find a grip and glow with new vitality. In fact, it is confident and confident. Isn't this the perfect atmosphere for cultural revival?

2 1, the prosperity and influence of culture is a key support of the Chinese dream. However, culture has its own growth law. On the basis of positive orientation, cultural prosperity depends more on a free and enlightened development environment. In today's era of rediscovering the value of traditional culture, the attitude towards foreign culture is particularly important. The most confident and graceful prosperous Tang Dynasty in the history of China is also the most "regardless of Hu and Han" era. This is the embodiment of self-confidence in the prosperous Tang Dynasty, and it is also one of the spiritual sources of its brilliant cultural achievements. Everything inevitably talks to the times and the world, especially culture. Narrow mentality and cramped thinking are the enemies of culture.

22. Please take our culture out of the museum. I hope to meet foreign friends in the future, and the China culture in their eyes will be more vivid and interesting, instead of those symbols on facebook.

23. Cultural inheritance. Find the correspondence between tradition and "network celebrities".

24. Sun Jiashan and Xiao Hanyu.

There is no doubt about the importance of inheriting traditional culture today. The Fifth Plenary Session of the 19th CPC Central Committee attached great importance to cultural construction, made far-sighted planning and deployment from the strategic overall situation, and clearly put forward the strategic goal of building a cultural power by 2035. Among them, the role of cultural inheritance is further highlighted, because it is directly related to the grand goal of "further enhancing the influence of Chinese culture and further enhancing the cohesion of the Chinese nation".

26. Actually. Today, cultural heritage is not only the heritage of China's traditional culture, but also a "creative heritage" in new cultural fields such as network culture and international exchange cultural atmosphere. This also causes us to think more: what content of traditional culture will be more practical for young people?

27. First of all. We should realize that traditional culture is not the essence, and some hidden dross still affects us. Some people even spread negative culture under the banner of "inheriting traditional culture". For example, the "female Durban" that has attracted much attention in recent years is the "resurrection" of today's ugly "men are superior to women" culture. Therefore, it is of great significance to guide the inheritance and spread of traditional culture with correct values.

28. In addition. To inherit excellent traditional culture, we need to find the place where it fits with the hot spots of youth culture in the new era. For example, the "museum craze" popular among young people in recent years is a typical case worth tasting.

In many people's cognition, there used to be stereotypes about material cultural heritage and intangible cultural heritage, which were considered as boring "antiques", but some new cultural forms in recent years have changed these stereotypes.

30. From I am Repairing Cultural Relics in the Forbidden City, Chinese Poetry Congress, National Treasures to the New Forbidden City, the current youth groups have shown amazing enthusiasm for outstanding traditional cultures such as cultural heritage and intangible cultural heritage. Not only the Forbidden City, the Temple of Heaven and other well-known cultural attractions, but also local museums such as Shaanxi Museum, Xinjiang Museum and Sichuan Du Fu Caotang Museum have become popular places for "punching network celebrities". The reason is obviously related to the "interesting and informative" of these museums or related programs. It is of great significance for young people to learn in fun and gain more spiritual enjoyment in knowledge, so as to help them cultivate their interest in traditional culture and gain more spiritual nourishment of traditional culture.

30. Besides. The inheritance of cultural elements with strong knowledge in traditional culture is also of practical significance for young people to participate in building a cultural power. For example, Hanfu culture and Peking Opera culture, which are popular among young people in recent years, still have a certain "entry threshold". Even if many young people are interested in the beauty of Hanfu and the wonderful performances of Beijing Opera, they will start from their interests and learn about the historical and cultural knowledge behind them. There are also many young people who like China costume culture by liking Hanfu, and then learn from Shen Congwen's research on China costume. Knowledge and specialty are essential elements in the inheritance of traditional culture, which will also help more teenagers to explore the mysteries of the cultural world and be of great benefit to improving their cultural literacy and comprehensive ability.

3 1. After the above-mentioned inheritance of traditional cultural content, teenagers will become an important force in building a strong cultural country. In order for the measures of inheriting traditional culture to further help the construction of a strong cultural country, at least two things must be done well.

32, first of all, is to do a good job of inheriting traditional culture "multi-faceted" and "full coverage" work. Although some traditional cultural elements attract young people, it is undeniable that many of them have received higher education. For those young people who are less educated and live in remote small cities, counties and rural areas, it is still unknown to what extent they can accept and inherit traditional culture. We can't ignore the "silent majority"-through network culture communication, compulsory education and media publicity. We want them to get the knowledge of traditional culture to the maximum extent, form an interest in traditional culture and become an important group to inherit traditional culture in the future.

33. In addition. We should also consider the relationship between inheriting traditional culture and international cultural exchange. We can't treat the problem of inheriting traditional culture in isolation. We should correctly evaluate our identity and situation from the world cultural forest, enhance our sense of self-identity in international cultural exchanges, and gain a more open cultural mentality. For example, in recent years, some young netizens in China have publicly released videos such as ancient Chinese in China and historical maps of China, and interacted closely with foreign netizens-this is not a "cultural show-off", but a cultural exchange based on cultural self-confidence. Teenagers not only learn the knowledge of ancient history and culture, but also spread the cultural image of China, which plays a practical role in shaping a better national image and building a cultural power.

34. Cultural undertakings are not the accumulation of "tyrants" and "sweet pets".

35. swallow it. I spent my college time in Beijing. Although the winter there is dry and cold and the summer is extremely hot, I always have a feeling that I can't give up this city that is "uninhabitable" in the eyes of my friends. This feeling is pinned on the noisy Nanluoguxiang, the Little Peng Hao Theater, the congested North Fourth Ring Road, the spacious 798 and the quiet Halloween bookstore, which are beyond my power. When I feel that the dull campus life needs a little seasoning, I don't need to indulge in debauchery or pack my bags in the distance. As long as I walk out of the school gate and take the subway, naturally there is a world of drama, art, philosophy and music waiting for me in every corner of this city.

36.20 17, I ended my six-year campus life, came to the present city and started my first and most ideal job in my life. When I walked into the gate of the concert hall and sat in the chair in the sound control room, I realized that I was no longer just an audience, but had the opportunity to "dream" for the audience by planning performances and introducing orchestras, just like me. Once, I was nourished by rich cultural resources, and finally grew into a "little soldier" who can contribute to cultural undertakings, which made my heart shine with pride and made my palms and face hot with happiness.

37. I remember that in the philosophy club of the university, I once argued with a male classmate about how important cultural undertakings are to society. In his view, culture is a superstructure determined by the economic base, so it is only a natural expression of the level of social development. No matter how well you do it, the best you can do is to add icing on the cake. However, I don't think so. If economic indicators and people's livelihood security directly affect people's material life and then determine the "lower limit" of a society, then the development level of culture and art directly connects our spiritual world and then determines the "upper limit" of this society. In real life, the more diverse the cultural life we can contact and experience, the more colorful our spiritual world will be, and we will have the opportunity to shine more speculative and innovative light in generate.

After work, I often hear the expression of "cultural power" from the materials preached by the leaders when meeting in the concert hall. Therefore, I sometimes think: What are we talking about when we talk about building a strong cultural country? In this matter, the national programmatic document at the macro level will certainly have a professional, comprehensive, formal and standardized interpretation. But from my personal experience, I think the most intuitive indicator to measure the level of building a strong cultural country is what level of cultural life we can enjoy. The most precious thing left to me during my college years in Beijing is the rich and beautiful spiritual food of this city. The most important thing I do after work is to find ways to "cook" more and better spiritual food for the people I live with.

In my imagination. Our cultural strength should be the scene of a hundred flowers blooming and a race in Qian Fan. I look forward to the new vitality of tradition, and I am also eager for modern and diverse trends; I like to tell our own stories locally, and I also look forward to unexpected collisions from outside; I think everyone can find their own "Chun Xue" and hope to laugh in front of "Chin Beauty".

40. At this moment, if we only look at the digital reports related to the cultural industry, we can easily think that China has achieved the goal of becoming a cultural power, with the largest number of readers, audiences and listeners in the world and astronomical cultural output value. Whether it is an art exhibition or an online TV series, there is absolutely no need for us to worry about their quantity. However, many times, what we see is the same. Young artists who lack communication repeatedly express the same concept of "pioneer", while mass media use a series of "hegemony", "sweet pet" and "ancient style" to meet the most superficial needs of the audience. This homogeneous accumulation may be able to support a prosperous "cultural industry", but it is doomed to fail to achieve a real "cultural cause".

4 1, changing the existing shortcomings. It's hard to say and easy to say. It is difficult because our road to developing cultural undertakings is uneven, and it is easy because many ordinary cultural practitioners, including me, can start from themselves and really contribute to our ideal things. When my colleagues and I plan the future performance arrangement together, we are always thinking about how to use our traditional cultural resources to play some new tricks or introduce some unprecedented performance forms from abroad. At the same time, it is also committed to breaking the framework of music performance forms and trying various integration innovations between different media forms. The construction of a concert hall may not make much waves in the cultural market of 654.38+04 billion people, but as long as more people like us are doing the same thing, and traditional culture, modern culture, local culture and international culture can grow together and complement each other in this land, the cultural cause of the motherland will certainly be more prosperous between "beauty" and * * *.

42. The nationwide anti-epidemic campaign has brought enlightenment to the moral construction of citizens.

43. Zhu hailin At the beginning of this year, after the outbreak of COVID-19 epidemic, China showed extraordinary efficiency and remarkable anti-epidemic effect. In addition to the institutional advantage of "concentrating on doing great things", effective civic moral construction also plays a key role.

44, epidemic prevention and control work. In the face of a series of complex ethical conflicts, the response of all citizens to the crisis is also a mirror of social morality. In reality, epidemic prevention and control involves public health, legal policy, social management and many other aspects. From an ethical point of view, there is an ethical conflict between values and morality.

45. Actually. The ethical conflict in the prevention and control of epidemic situation in COVID-19 is the conflict between different moral values faced by citizens. Citizens' choices in all aspects of epidemic prevention and control are based on personal moral understanding, which is a process of constantly weighing trade-offs in public policies, measures and action plans.

46. For example. Respecting citizens' autonomy is one of the basic principles of bioethics. However, in the process of epidemic prevention and control, the government, as the subject of obligation to maintain public health, has the obligation to intervene freely with individuals when necessary, so as to better implement the epidemic prevention policy and maximize the utility of public health.

47, the society to carry out epidemic prevention and control work, will inevitably take national intervention measures, which requires citizens to consciously abide by the public's epidemic prevention requirements, and actively cooperate with the national epidemic prevention policy. For example, stay at home, wear a mask when going out, and keep a social distance. Among the large-scale intervention measures, the most severe ones are "closing cities, roads, villages and communities" and tracking and compulsory isolation.

48, for the sake of epidemic prevention and control effect. The disclosure of information such as patients' action trajectory by the state is based on the specific context and objective reality of epidemic prevention and control. It is to give priority to protecting the public's right to know, let the public know and stay away from the source of infection, so that the government can effectively isolate and cut off the source of infection, thus preventing the spread of the virus. Laws and regulations such as the Law on the Prevention and Control of Infectious Diseases also require the fulfillment of this civic obligation.

49. Fundamentally speaking, the moral requirements of China epidemic prevention and control work for citizens are conducive to the realization of the "best purpose" of the country and society. The personal morality, responsibility and obligation of citizens required by epidemic prevention require individuals to sort out their own values under the starry sky of morality and ethics, distinguish the relationship between various moral values, and finally transcend ethical conflicts and make correct personal choices in line with the public interests.

50. In epidemic prevention and control, the progress of civic morality is also reflected in people's concern for the vast number of medical care groups. In terms of cherishing medical care groups and respecting medical care workers, society has gradually formed more consciousness, which is conducive to building a harmonious relationship between doctors and patients and resolving and reducing contradictions between doctors and patients. In the process of anti-epidemic, treating the few people infected with the virus objectively and respecting their personal privacy can bring them warmth, and also help the whole society to understand the virus more scientifically and treat patients correctly and appropriately.

5 1. Recently, the outline of the "14th Five-Year Plan" put forward that it is necessary to promote the formation of ideas, spiritual outlook, civilized fashion and behavioral norms that meet the requirements of the new era. In the epidemic prevention and control, the brand-new moral outlook of ordinary citizens is a full proof and concentrated display of the moral progress of the public, which has brought many inspirations to the moral construction of citizens in the future.

52. First of all, we should pay attention to the hierarchy of moral requirements. In the process of anti-epidemic, the moral standards shown by our society include "advanced morality" that embodies heroes and vanguard models, and specific aspects that involve ordinary citizens consciously observing public epidemic prevention requirements in their lives. The process of social citizen's moral construction, the latter's cultivation and promotion is more basic.

Secondly, when Zhong Nanshan, Li Lanjuan and others walked into the campus, the atmosphere became "idolized". This enlightens us that we can play a leading role in vanguard and exemplary morality.

54. Finally. We should be good at extracting useful resources from traditional culture. The philosopher Mou Zongsan said that the core of China culture is the knowledge of life. Sometimes, ordinary people's compliance with public epidemic prevention requirements is actually the embodiment of traditional culture such as "human life is related to the sky". This shows that digging, sorting out and refining moral concepts and ethical spirit from traditional culture and continuously injecting new connotation of the times can make citizens' moral construction get twice the result with half the effort.

The above is an introduction to what it means to be a cultural power for young people.