<몽옥쌍봉연록-곽장양문록> 연작의 곽분양 수용 양상과 그 의미

Independent Biographical DocumentariesThe Year in China Chen Shen (bio) Recently, the number of independent documentaries has grown rapidly in China. In the 1990s, independent documentaries usually focused on life and social problems at the bottom of society, reflecting the producers' personal concerns and suspicions about mainstream presentations of reality. These early independent documentaries, however, were supplements to mainstream documentaries, and mostly coarse productions, with barely sufficient narrative or editing skills, and little public influence. Many of them also had very limited releases, appearing in the cinema for only one day due to their unattractiveness. Recently, however, several independent biographical documentaries represent a major advance in the field, displaying not only their producers' brilliant conceptions and shooting techniques, but also arousing a great deal of public discussion. Among them, Twenty Two, The Verse of Us, and The Last Stickmen of City Chongqing are good examples. Twenty Two is a documentary about Chinese sex slave victims in World War II, the first movie released publically on this subject in Mainland China. The documentary was shown on August 14, 2017, and earned 170 million Yuan, a record-breaking box office. It has generated intense discussion on network forums and positive commentary from many movie reviewers. A biographical documentary seldom draws so much public attention—and even less often does one generate profits as high as more commercial movies. The success of Twenty Two resulted from its content, its narrative strategies, and its mode of transmission. The director Kuo Ke had already made a 43-minute documentary entitled Thirty Two in 2012, which records the story of survivor Wei Shaolan and her Japanese son Luo Shanxue. Thirty Two won some international film awards and raised viewer interest in the topic, but it could not be released at that time. Wei Shaolan's story was representative of the thirty-two living Chinese survivors in 2012. Two years later, when Kuo Ke restarted the project, only twenty-two were left. The director went through Heilong Jiang, Shanxi, Hubei, Guangxi, and Hainan provinces, interviewing all of these survivors; Twenty Two is [End Page 28] a documentary designed to preserve the memory of these women. It is estimated that there were 200,000 or more victims. Only eight were alive when the film was shown, and even fewer today. The survivors' testimony was videotaped, and preserved important first-hand oral history records of the women. The director asked all the victims to talk about their traumatic experience. Most were about 90 years old, and their neighbors, and even their children, did not know about their humiliating personal history before. To avoid receiving special or different treatment from others, most victims refused to talk about their experience. Many silent frames appear on the screen, and only a few women tell relatively complete stories. Mao Yinmei talked about her childhood in Korea. Abandoned by her mother, she was then caught and forced to be a sex slave. She could still remember some Japanese words. Lin Hailan talked about her heroic deeds, including stealing the enemy's bullets and stealthily transporting them to the Chinese army. She also described the violent behavior of the Japanese at the station. Li Meijin provided some details about Japanese atrocities in her village, and her relationship with her husband after coming back from captivity. But most survivors remained silent in the scenes, or collapsed during their narration. To record their current living conditions, the director shot their daily lives, including activities such as cloth-washing, cooking, and entertainments with other old people. Most of these women, however, have lived lonely and dreary later lives. Their current bad conditions and the past interact to create this unfortunate destiny. The director also interviewed family members and others who helped the survivors during these later years, reflecting different aspects of their lives. Korean cameraman An Shihong expressed his sympathy for the women's current living conditions, and claimed his purpose for interviewing them was to make more people aware of their situation, and therefore provide support. Chen Houzhi, a farm worker who had spent sixteen years helping these women and collecting materials for a lawsuit, nevertheless felt that asking them to remember their traumatic experiences was a...

The Kazakh folk epic talks about the heroic deeds and life of nomadic tribes, being the historical and cultural heritage of the nation, which has been passed from mouth to mouth for centuries, thereby preserving national memory and contributing to the maintenance of patriotic feelings. The purpose of this article is not only to consider the Kazakh epic in the traditional vein of narrating about the historical past, but also to emphasize its ethnographic and genealogical value. By analyzing epic poetry, folk songs and folklore in general, as well as examining fragments of individual works, the authors recreate a holistic picture of the genealogical basis of the folk epic. The article compares the differences in the traditions of the Kazakh epic poetry of the 16th-18th and 19th centuries, which are observed, first of all, in the compositional structure, the subject of the story, the worldview in general. According to the results of the study, it was determined that the genealogical basis of the Kazakh folk epic lies in a certain archetype of a hero, the only son born to become a defender of the honor and dignity of the nation. At the same time, special attention is paid to describing its origin through a poetic description of its family tree. From this follows the complex genre of the epic chronicle, which has artistic and historical value and is an example of spiritual heritage. This study is of practical use for specialists in the field of history, literature, ethnography and genealogy.

Today we see an increase in the usage of the term hero. Especially in the media, the term is applied not only to those who do specific heroic deeds but to entire professions, e.g., the military. In this paper, we analyze the media’s social construction of military heroes with respect to four individuals, two fictional characters and two real people. We argue that four themes are essential to the construction of the military hero whether for fictional or real people: a biography; strength of purpose; gender; and the reinforcement of national values. Once constructed in the media, the hero often contributes to political ends by reinforcing national values. More specifically, in their construction military heroes reflect and reproduce ideologies that legitimate the state and its military aggressiveness.

Royalty and Its Representation in Popular Culture

Published in 1924, José Eustasio Rivera’s The Vortex (La vorágine) is still one of the best Colombian novels, highly appreciated not only for its historical value and importance, but also for its new narrative strategies, exquisitely used by the author. The book implies the young writer’s attempt to document certain harsh realities of his native country, being at the same time a modernist approach to literature, an original attempt to impose the cartographic illusion within the context of Latin American literature, usually inclined, at least up to that time, to express mostly the traditional element.

Gelatin dry plates produced in Korea during the colonial era by the Japanese Government-General show some late-Joseon Buddhist craftworks at temples currently in North Korea, such as Buddhist temple bells and incense burners. These include five bells from the seventeenth century, one from the eighteenth century, another from the nineteenth century, and the Jade Gui-shaped Incense Burner and Gilt-bronze Ding-shaped Incense Burner at Yujeomsa Temple.<BR> Among the late-Joseon Buddhist temple bells depicted in gelatin dry plates are the Bell with Inscription of the Sixth Year (1633) of the Reign of Emperor Chongzhen and Bell with Inscription of the Fifth Year of the Reign of Emperor Shunzhi at Seokwangsa Temple; Bell with Inscription of the Tenth Year of the Reign of Emperor Kangxi and another bell from the late seventeenth century at Gwijusa Temple; the Bell with Inscription of the Thirtieth Year(1691) of the Reign of Emperor Kangxi at Seongbulsa Temple; Bell with Inscription of the Forty-seventh Year (1708) of the Reign of Emperor Kangxi at Jangansa Temple; and Bell with Inscription of the Tenth Year (1830 or Gyeongin Year) of the Reign of Emperor Daoguang. The artisans who produced them can be identified based on the inscriptions and styles of these bells. For example, Cheonbo (天宝) participated in the production of the Bell with Inscription of the Sixth Year of the Reign of Emperor Chongzhen at Seokwangsa Temple; Jijun (智俊) and Taehaeng (太行) worked on the Bell with Inscription of the Thirtieth Year of the Reign of Emperor Kangxi at Seongbulsa Temple; Sain (思印) was involved in the creation of the bell from the late seventeenth century at Gwijusa Temple; Yi Hae-jun (李海俊) and Keukryeon (剋連) created the Bell with Inscription of the Forty-seventh Year of the Reign of Emperor Kangxi at Jangansa Temple; and Yi Man-uk (李萬郁) and Jang Min-cheol (張敏喆) were connected to the Bell with Inscription of the Tenth Year of the Reign of Emperor Daoguang.<BR> As for other bells whose inscriptions do not include the names of the artisans involved, stylistic characteristics can be applied to suggest artisans who might have participated in their production. The creation of the Bell with Inscription of the Fifth Year of the Reign of Emperor Shunzhi at Seokwangsa Temple is likely connected to Jeongu (淨祐), Sinwon (信元), Woneung (元應), and Jijun, all of whom were active in the early and mid-seventeenth century. In the case of the Bell with Inscription of the Tenth Year of the Reign of Emperor Kangxi at Gwijusa Temple, Daehwasa Chwicheong (大化士 醉淸) is presumed to have participated in its production. According to the “List of Properties in Gwijusa Temple Based on the Revised Temple Law,” Chwicheong is recorded as the maker of its bell. However, whether or not he was a monk artisan is unclear.<BR> The gelatin dry plates of these Buddhist temple bells are significant in that they reveal that many seventeenth-century bell-casting artisans, including Cheonbo, Jijun, Taehaeng, and Sain, were active in a broader area than had been previously known as they participated in the creation of bells for temples in both present-day South and North Korea. It is also meaningful that works by these artisans have been identified beyond those known from written historical records.<BR> The gelatin dry plates from North Korean regions show only two incense burners: the Jade Gui-shaped Incense Burner and the Gilt-bronze Ding-shaped Incense Burner. Both were used at Yujeomsa Temple. The late-Joseon royal court imported these Ming and Qing copies of Chinese ancient bronze or jade vessels and bestowed them on the royal temple Yujeomsa. The Ding-shaped Incense Burner that King Jeongjo bestowed upon Yongjusa Temple is a classic example of the offerings given by the royal court to its temples during the late Joseon period. These two incense burners at Yujeomsa Temple are also noteworthy in that they demonstrate the use of copies of ancient Chinese bronze or jade vessel imported by the Joseon royal court before the reign of King Jeongjo.

This paper discusses dream as a narrative strategy in selected classical Malay texts. The discussion covers six Malay historiographical texts: Sulalatus Salatin, Hikayat Raja-raja Pasai, Hikayat Banjar, Tuhfat Al-Nafis, Babad Tanah Jawa and Syair Peperangan Aceh. Mieke Bal's narrative theory (2017) is used as the main method of discussion. In her book, Narratology: Introduction to the Theory of Narrative (2017), Bal presents 12 important characteristics in narrative theory; event, character, time, location, plot, repetition, focalization, text, author, description, narrative stages and ideology. Based on the analysis, the characteristics can be condensed into five categories: text (theme, point of view, repetition, description, narrative stages, plot, and focalization), author, setting (time, place, and event), ideology and character. However, the discussion of this paper uses one element only, which is the author's ideology. The findings intend to show the author's ideology in using dream as one of the narrative strategies to highlight the sovereignty and veneration of the Malay kings. The study's results prove that dream was used as a narrative strategy by the past royal court authors.

Both departments are parts of the Faculty of Forest Sciences and Forest Ecology within the Georg-August-University of Gottingen. Their fields of interest partly overlap which is reflected also in the composition of their scientific collections. The Department of Forest Zoology and Forest Conservation holds a comprehensive collection of the birds of Lower Saxony with about 500 specimens and the historical collection of W.G. Glimmann that comprises birds of prey, owls and wildfowl. Also the insect collection has a considerable historic value: some of the 35,000 specimens were collected by the famous entomologists J.T.C. Ratzeburg and A. Forster. According to the original focus of the Department of Wildlife Sciences, its collection comprises a huge selection of trophies, especially antlers or horns of typical game species. Of historic value are the obsolete game tag register of Germany and some relicts of the royal Hanoverian hunting court, which was dissolved in 1868. Currently, the collection is being rearranged to highlight the important roles that wild animals play in maintaining the functionality and resilience of ecosystems.

Examining the novels of Frank Norris, Theodore Dreiser, Jack London, and other writers, June Howard presents a study of American literary naturalism as a genre. Naturalism, she states, is a way of imagining the world and the relation of the self to the world, a way of making sense -- and making narrative -- out of the comforts and discomforts of its historical moment.Howard believes that naturalism accomodates the sense of perilousness, uncertainty, and disorder that many Americans felt in the late nineteenth and early twentieth centuries. She argues for a redefinition of the form which allows it to be seen as an immanent ideology responding to a specific historical situation. Working both from accepted definitions of naturalism and from close analysis of the literary texts themselves, Howard consructs a new description of the genre in terms of its thematic antinomies, patterns of characterization, and narrative strategies. She defines a range of historical and cultural reference for the ideas and images of American naturalism and suggests that the form has affinities with such contemporary ideologies as political progressivism and criminal anthropology. In the process, she demonstrates that genre criticism and historical analysis can be combined to create a powerful method for writing literary history.Throughout Howard's study, the concept of genre is used not as a prescriptive straitjacket but as a category allowing the perception of significant similarities and differences among literary works and the coordination of textual analysis with the history of literary and social forces. For Howard, naturalism is a dynamic solution to the problem of generating narrative from the particular historical and cultural materials available to the authors.Originally published in 1985.A UNC Press Enduring Edition -- UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value.

Museum Catalogue Record: William Morris’s News From Nowhere Madeleine Seys (bio) Object: The Utopian Museum Material: William Morris’s News From Nowhere; or, An Epoch of Rest, Being Some Chapters from a Utopian Romance Date: 1890 history The victorian period saw the rise of the museum and the novel as dominant cultural and intellectual forms. Both museums and novels used reason and description to categorize and organize facts and artifacts in order to tell stories, connecting earlier events to the culture and politics of the Victorian period. Novels and museums are, alike, repositories for narrative. In Victorian museum practice, catalogues such as the British Museum’s [End Page 30] Catalogue of Printed Books: Homer (1890) document the provenance, description, and condition of an artifact in constructing a narrative of its history and significance. These categories were codified in museum collection accession practice throughout the twentieth and early twenty-first centuries. A similar logic to that which informs the museum catalogue is evident in the structure of the nineteenth-century novel. Here, background information provides a narrative’s history and provenance, build-up utilizes description as a literary technique, the novel’s climax is a complication of that description (as is an artifact’s condition), and its resolution concludes the narrative and assesses the novel’s significance. As Mieke Bal states, “Collecting is an essential human feature that originates in the need to tell stories” (103); the museum and the novel both represent and explore this need. William Morris’s 1890 novel, News from Nowhere, bears witness to the influence of the museum as a cultural site, as a collection, and as a form of storytelling in Victorian literature. Morris presents his novel, subtitled An Epoch of Rest, Being Some Chapters from a Utopian Romance, as a collection of textual artifacts, in the form of chapters, through which he describes and explores a utopian future. The museum is an important literal and symbolic site in News from Nowhere. It is crucial to the novel’s narrative strategy and utopian function and provides a framework for analyzing it. The museum is also a significant cultural site and narrative metaphor in other late-Victorian utopian and dystopian novels, including H.G. Wells’s The Time Machine (1895) and Elizabeth Burgoyne Corbett’s New Amazonia (1899). Barbara J. Black’s On Exhibit: Victorians and Their Museums examines the utopian impulse of Victorian collecting culture and how literature responds to this impulse in its representations of the future. She argues that Morris’s museum in News From Nowhere represents a “social criticism targeted at the future of a society committed to imperialism and industrialism” (168). Instead of being a “guarded national treasury, the museum plays back the history of its own institutional inception” (167). In this essay, I use the museum catalogue as a form for exploring Morris’s utopian representation of the Victorian period, taking history, provenance, description, condition, and significance as subheadings to structure my analysis. In doing so, I continue this process of self-consciously examining the museum as an object of and subject for narrative and history. Like Morris, I look at the Victorian period, in this case its literature, through the epistemologies of the museum. As a short form of analysis that explores the connection between objects and narratives, and the significance of the past (provenance) in understanding the present (significance), the museum catalogue record is the ideal form for literary analysis that is attentive to the historical, material, and poetic aspects of the Victorian novel. provenance From the Greek, museum means the “seat of the muses” (Siegel 3); in its modern usage, these muses are material rather than mythic, and the museum [End Page 31] is an institution for the collection, protection, preservation, and exhibition of objects of historical and artistic value (Siegel 3; Maleuvre 9). During the Victorian period, the museum emerged as an object of and a subject for the defining intellectual and cultural activities of collecting, categorization, and exhibition. In the years that have followed, the Victorian period itself has become an object to exhibit in museums, with both institutions and their artifacts functioning as icons of this era. In 1967, Germaine Bazin described...

Cinema plays a pivotal role in the negotiation and construction of national identity, selectively appropriating history, attempting to forge a sense of commonality in a set of people by evoking a sense of a shared past and by establishing a rupture with “others.” One of the means of constructing a nation is through the biopic. Great men biopics chronicle heroic deeds, sacrifice, and lofty moral virtues and either fabricate, or rediscover, and authenticate the myths of the founding fathers and celebrated men. Biopics disseminate the “myth of nationhood” by use of various narrative strategies ‐ such as a glorification of hyper-masculinity, structuring binary oppositions in terms of character and thematic concerns, “otherness,” visualizing national territory, homogenizing a cultural diversity etc. These films become a part of the nationalistic discourse that reflects perceptions of what it means to be “Indian.” Bollywood in general and the biopic in particular has moved away from the Mother India mythology and its feminine reading of the nation to produce a particular variant of nationalism. This paper attempts to deconstruct how the nation is simulated, and meanings, such as national pride and national idealism, are mediated to the audience in selected Indian biopics ‐ Sardar, The Legend of Bhagat Singh, Mangal Pandey: The Rising, and Bhaag Milkha Bhaag.

Hercules and the King of Portugal: Icons of Masculinity and Nation in Calderón’s Spain

This article focuses on the restrictive nature of the American magazine in both the Gilded Age and Progressive Era of mass publication, the two periods in which Wharton published seventy-eight of her short stories. I consider the textual disunity often created by the use of illustrations, including advertisements, and the challenge to authorial autonomy presented by editorial intervention. I argue here that this material frame influenced Wharton's narrative strategies in her shorter fiction and examine how she successfully subverts the cultural frame in which her texts were placed, using apparent restrictions to add depth and complexity to her stories. To my knowledge, this is the first sustained study of the interaction between Wharton's short stories and their magazine frames, and the first focus on the subversive nature of her narrative strategies in her shorter fiction, in terms of challenging their material context.

Precise Point Positioning (PPP) is becoming increasingly used instead of differential GNSS (DGNSS) due to its ease of use. With PPP, precise satellite orbits and clock corrections are calculated using the numerous International GNSS Service (IGS) permanent stations. The IGS network conceptually replaces the reference station(s) used in DGNSS. Models of the ionosphere and the troposphere are used to aid PPP, especially ionospheric models for single frequency users. In addition to 3D position, PPP provides estimates of GNSS time and zenith tropospheric delays. PPP performance is analysed herein as a function of receiver type, observation time and measurement utilized. The high-end receivers used in this study are multi-frequency multi-constellation Leica GS16. The Android phone used in the new Huawei Mate 20X. The measurements that are intercompared are (1) single frequency code, (2) single frequency code and carrier phase, (3) dual frequency code, and (4) dual frequency code and carrier phase. Results in low and high multipath environments are reported. Focus is on the use of GPS and GLONASS constellations because most IGS stations are equipped with such receivers, which is necessary to calculate precise satellite orbits and clock corrections. In order to assess PPP versus DGNSS performance, the results of a test consisting of an array of receivers are reported and analysed.

Erna Brodber and Velma Pollard have always written short stories while also writing novels and poetry. They both began with short fiction, and their most recent books are collections of their stories, Pollard’s Woman I &amp; II: New and Selected Stories (2011) and Brodber’s The World Is a High Hill (2012). The stories portray Jamaican women as they struggle against a patriarchal society and search for their own identities. Based on the sisters’ own experiences as diasporic women, these personal stories are also tales of Jamaican culture and myth. The sisters’ short fiction indicates many of the main themes throughout their literary careers: migration, gender, history, and resistance. The influence of African folklore and culture and that of the sister-writers' home in Woodside, St. Mary, Jamaica is dialectic or interplay. The sisters' projections of their homeland and their writing themes and narrative strategies have influenced many educators, scholars, and writers.