Prose Pieces Research Articles

Corneliu Irod – Ukrainian Writer from Romania (Creative Work Overview)

The essay surveys the works written by C. Irod, one of the leading contemporary Ukrainian writers of Romania. The main attention is paid to his trilogy of novels “The Feast” and stories that vary in thematic features and stylistics, some of them belonging to a particular type of short prose works – allegoric pieces called “blunder stories”. Considering main themes and ideas of C. Irod’s works and focusing on peculiarities of their literary interpretation, the researcher intends to represent the originality of the writer’s prose heritage, to determine his role in developing the genre of the modern novel and renovating flash fiction in Ukrainian literature of Romania. To achieve this aim, the researcher adds a comparative aspect and refers to the major development patterns of the world novel of the 1960s–1980s, in particular, focusing on such a remarkable feature as ‘new epics’. The themes and issues of the works by C. Irod have been compared to those in the works by Romanian writers, in particular D. R. Popescu. It is noted that C. Irode’s stories have the inherent connection with the flash fiction of the Ukrainian masters – H. Tiutiunnyk and Ye. Hutsalo. The essay follows correspondences in themes and literary technique that relate the Romanian writer to the mentioned Ukrainian authors. The essay also informs about C. Irod’s achievements in the Цeld of literary translation. In particular, he worked over translation of T. Shevchenko’s “Diary”, as well as the book “Taras Shevchenko’s life” by P. Zaitsev. The researcher also gives some details concerning C. Irod’s translations of the tales “When the animals could talk” and “Mykyta the Fox” by I. Franko, the stories written by H. Tiutiunnyk and some pieces in poetry and prose by junior Ukrainian authors.

근대 한국 화단에서의 즉석휘호 합작과 변형

Collaborative instant calligraphy paintings were popular among modern Korean painters in the particular historical circumstances of the country’s annexation by Japan in 1910 and subsequent colonization. Such works were produced at gatherings at which several painter-calligraphers each painted a different motif or wrote a different piece of poetry or prose on a single canvas. Interestingly, while collaborative calligraphy paintings were rarely produced by poetry groups or at gatherings in 18th-century Joseon or Qing, they took place frequently at the painting and calligraphy gatherings that were prevalent throughout Japan from the late Edo to the early Meiji period. The nobility that led Japan in the late Meiji period-elite officials, military men and businessmen educated at least to university level-continued the creative methods of instant calligraphy painting.BR After Japan’s victory in the Russo-Japanese War in 1905, officials of the Residency General often held calligraphy and painting gatherings in the imperial house hold of the Daehan Empire. At meetings of fraternity associations such as Imunhoi (以文會) comprising high-ranking officials from Korea and Japan, figures from both countries formed cultural bonds through collaborative calligraphy painting. In addition, in the 1900s, when Japan was encouraging its citizens to migrate to the peninsula, Japanese painters in Korea such as Shimizu Toun (淸水東雲, 1869?~1929?) and Kubota Tennan (久保田天南, 1872~1940?) associated with Korea painter-calligraphers in private spaces such as Gyeongmukdang (耕墨堂) and produced collaborative calligraphy paintings.BR In order to investigate the introduction, development and changes that occurred to the collaborative calligraphy painting that became popular under the influence of Japan, I divided extant works of this type into three categories according to the nationalities of their painter-calligraphers. The first category includes works by Japanese nationals only; three works produced at Gyeongmukdang in approximately 1915. The second category includes works produced jointly by Japanese and Koreans such as high-ranking Japanese officials, pro-Japanese orean officials and Korean calligrapher-painters. One notable example in this category is a calligraphy painting jointly produced by Korean artists such as Kim Eung-won (金應元, 1855~1921) and Japanese figures. The third category comprises works produced by Koreans only. Features of such works include experiments such as dividing the canvas space in order to stop the spontaneous abandon of the creative process lowering the standard of the work; and painting the upper body of the destined recipient of the work in the middle of the canvas. Examples of this include two calligraphy paintings jointly produced by members of the Sanbyeok Poetic Society (珊碧詩社); one is now in the collection of Korea University Museum and the other in that of Sogang University Museum.BR The above collaborative calligraphy paintings are characterized by their free and spontaneous style and rendered in simple ink brush strokes, perhaps because they were produced in the presence of several observers. This demonstrates a totally different type of colonial cultural policy to the revealing of Japanese painting, with its unique sense of aesthetics, to the Korean public at the Joseon Art Exhibition from 1922 onwards. This is probably because ink painting offered a suitable way of highlighting the common points between Japan and Korea based on Japan’s assertion of the two countries’ shared nationhood and culture, as part of its colonial policy; and because the creative method involved in collaborative calligraphy painting was an effective way of forming cultural bonds as artists from each country observed each others’ creative processes. In conclusion, it appears that the fashion for collaborative calligraphy painting that appeared in modern Korean painting from 1910 was closely connected to Japan’s colonial cultural policy.

Imagine

This piece of prose presents an imagined scenario of a city in ruins and explores the materialistic side of the idea of home. Speaking directly to the reader, this story asks us to consider the role of family within the basic unit of community, in a child’s experience, and of course, in survival. The immigrant experience is considered: is purposefully selling everything parallel to losing everything in a disaster? This story also encourages the reader to think about the what-ifs in light of climate change—the rising chance of your home being hit by an ice storm, hurricane, or another extreme weather event—in the Anthropocene.

Give Us This Day Our Daily Absurd, As We Also Have Given It to Our Absurd-mongers! One Look at the Absurd in Romanian Culture

Abstract An unpublished piece of prose in the style of Romanian writer Urmuz has rekindled my interest in absurdist writings and/or absurd cases which, in Romanian culture, are associated with the likes of Urmuz, Caragiale or Ionesco. I will ponder here, with the aid of the aforementioned authors and also by comparing their work with Lewis Carroll’s, the absurdist spirit of certain Romanian literary and dramatic pieces, or only of certain scenes therein, to propose a typology of the absurd as distinct from satire (the latter often a companion piece to the former). Mine is an investigation that crisscrosses texts, cultures and ages more than it offers an in-depth analysis by recourse to concepts and theories; asks questions more than it offers answers; plays more than it does sober research; and laughs – lest it should weep.

‘Knitting Needles and Poppycock’: Hitherto Unknown Prose Pieces by Hart Crane and Bibliographic Clarifications

‘Knitting Needles and Poppycock’: Hitherto Unknown Prose Pieces by Hart Crane and Bibliographic Clarifications

“COSÌ, VESTIVA IN BARBARI ACCENTI, / IL VERO AFFETTO A UN AUSONIO”: SUGLI SCRITTI IN ITALIANO DI P.B. SHELLEY

P.B. Shelley’s attempts at writing in Italian date to the period from late Autumn 1820 to August 1821. They consist of self-translations, loose fragments, the draft of an original verse composition, an allegorical prose piece, the review of an “improvvisazione” on a classical subject by Tommaso Sgricci, and some more or less fragmentary letters. What is the value of these writings in relation to Shelley’s works? What knowledge of Italian do they suggest? What is their expressive import? How can they be best presented in a modern edition of Shelley’s works? In addressing these questions, I will suggest that these writings should be neither overvalued, nor completely ignored, and I will conclude that they have a biographical, rather than a literary, or linguistic, relevance.

“Occasional extinction or more likely occultation”

Abstract This article analyses Samuel Beckett’s unpublished prose piece “Long Observation of the Ray” (UoR MS 2909; 1975–1976) and considers the formal, thematic, and intertextual aspects of the text in order to reflect on its ‘abandoned’ status. By drawing attention to possible sources for the linguistic and descriptive choices that Beckett makes throughout the manuscript, the article argues that the text represents a partial return to the author’s abiding interest in calculations of light and distance first prompted by his study of astronomy, a return which he uses to further his experimentation with form and structure in “Long Observation of the Ray” and beyond.

Away from incident

A collaboratively written prose piece, ‘Away from incident’ explores ideas of forms and processes. The authors’ poetics are embedded within the text.

THE CHARACTERISTICS OF ALBUS DUMBLEDORE IN HARRY POTTER AND DEATHLY HOLLOW BY JK. ROWLING

Novel is a part of literature, a fictional piece of prose usually written in narrative style. In non-fiction novel, there are also character. The one main character is usually the non fiction maker ( author ) itself. Talked about character, there must be characteristic. The analyst tries to analysis the characteristic of Albus Dumbledore of Harry Potter and Deathly Hollow by J.K Rowling. The analyst wants to share information about the moral value of Albus Dumbledore, his dark side, his abilities, his support as a protector and helper for Harry Potter and his friends. The pupose of this study was about to describe the characteristic of Albus Dumbledore. The method of this reserach was qualitative approach with coding, decoding, categorization and confirmation. The problem of the research was used objective approach. Data collection technique was used library study and literary study. The result of this research was Albus Dumbledore is wise, gentle, kind, misterious in way, knowlegable, caring and understanding. The conclusion of this research was the character of Albus Dumbledore is not just a story but we can adapt it in our life, without magic wand, everyone can be as same as Albus Dumbledore characteristic, if there is a willing.Keyword : Character, Characteristic, Novel

Hajek M. Memoirs about the Czech Lefts / editor and the author of the afterword G.P. Murashko; translation from the Czech language G.P. Neshchimenko. Moscow; Saint Petersburg: Nestor-Istoriia, 2019. 488 p.

This review examines one of the research studies on multicultural communities in the Balkan macroregion – the Bulgarian-Turkish project Identity and Assimilation, implemented between the Institute of Literature of the Bulgarian Academy of Sciences and Gazi University (Ankara, Turkey) under the supervision of Associate Professor Vikhren Chernokozhev and Professor Zeynep Zafer. One of the results of this project is the anthology When They Took Away My Name. “The Revival Process” in the 1970–80s in the literature of the Muslim community (2014), which is composed of fiction and documentary works of more than thirty authors, whose life and work were directly related to the “revival process” in Bulgaria in the 1980s. Most texts are translations from Turkish into Bulgarian, however there are pieces of poetry and prose originally created in Bulgarian. Much of the prose and poetry are accompanied by notes explaining the realities of Turkish culture and some historical facts. At the end of the collection, there is biographical information about each of the authors and a list of their works published in Bulgarian and Turkish. The publication of the book When They Took Away My Name caused a stir in Bulgarian society: it met with enthusiastic approval from some and was attacked by Bulgarian nationalists. The diametrically opposed views confirm the idea of the high interethnic tension that characterizes modern Bulgarian society. Among the main reasons for turning to this period of Bulgarian culture is to highlight the forcible exclusion of representatives of the Muslim community from the sociocultural and literary context of Bulgaria due to political circumstances. The study of the heritage of Muslim poets and prose writers is aimed at determining the specifics of the anti-totalitarian literature of Bulgaria in the era of socialism.

Fugitive Pieces: Walpole, Byron, and Queer Time

In their earliest works, Horace Walpole (Fugitive Pieces in Verse and Prose, 1758) and Lord Byron (Fugitive Pieces, 1806) built a queer temporality of fugitive time out of the occasional pieces and sporadic readers that Samuel Johnson first theorized in The Harleian Miscellany. These juvenile poets aligned several forms of fugitive print—loose scraps, detached fragments, burned books, and encoded secrets—and fugitive figures—political exiles, queer aristocrats, runaway slaves, and amateur poets (often themselves). Walpole and Byron redeem both carefree and imperiled fugitive lives by engaging two antithetical discourses of disappearance: languid, idle ease, and sudden, active flight. This discontinuous eighteenth-century poetics becomes increasingly racially coded as it crosses the Atlantic in the nineteenth century. Fugitive pieces linked Old World flights of fancy and New World runaway slave advertisements, collected works and secure colonial property, and literary selections and sugar cane extracts. In their surprising affirmations of an intermittent, occasional time that allies irregular idlers, miscellaneous fugitives, asylums for poetic pieces, and abolitionist accounts of disabled bodies, juvenile poets moved beyond their era’s straight narrative of imperial progress.

When They Took Away My Name: On a Piece of Bulgarian-Turkish Scholarly Research

This review examines one of the research studies on multicultural communities in the Balkan macroregion – the Bulgarian-Turkish project Identity and Assimilation, implemented between the Institute of Literature of the Bulgarian Academy of Sciences and Gazi University (Ankara, Turkey) under the supervision of Associate Professor Vikhren Chernokozhev and Professor Zeynep Zafer. One of the results of this project is the anthology When They Took Away My Name. “The Revival Process” in the 1970–80s in the literature of the Muslim community (2014), which is composed of fiction and documentary works of more than thirty authors, whose life and work were directly related to the “revival process” in Bulgaria in the 1980s. Most texts are translations from Turkish into Bulgarian, however there are pieces of poetry and prose originally created in Bulgarian. Much of the prose and poetry are accompanied by notes explaining the realities of Turkish culture and some historical facts. At the end of the collection, there is biographical information about each of the authors and a list of their works published in Bulgarian and Turkish. The publication of the book When They Took Away My Name caused a stir in Bulgarian society: it met with enthusiastic approval from some and was attacked by Bulgarian nationalists. The diametrically opposed views confirm the idea of the high interethnic tension that characterizes modern Bulgarian society. Among the main reasons for turning to this period of Bulgarian culture is to highlight the forcible exclusion of representatives of the Muslim community from the sociocultural and literary context of Bulgaria due to political circumstances. The study of the heritage of Muslim poets and prose writers is aimed at determining the specifics of the anti-totalitarian literature of Bulgaria in the era of socialism.

Editor's Note

Editor's Note Jason Kyle Howard This summer I spent three weeks in Ireland, roaming the island's cities and countryside with nineteen Berea College students and a colleague. An art professor, he and I were teaching a mixed-genre course we called "The Artist as Traveler" that focused on the necessity of observation and the notion of ekphrasis—creating a piece of art in response to another piece of art. [End Page 5] With one exception, our mixture of creative writing and drawing students had never traveled abroad. As the weeks went by, we immersed ourselves in both urban and rural experiences, spending time in Dublin, Wicklow, Newgrange, Drumcliffe, Sligo, Galway, and Cork. But the students' favorite destination was the Aran Islands, where we spent four days on Inishmore, population 900, an island eight miles long by two-and-a-half miles wide that is located off the coast of West Ireland in the roiling Atlantic. There, in between bicycle rides through rain and sunshine to visit some of the island's sites, the students burrowed into their final creative projects—an extended travel essay and a portfolio of sketches and drawings. One day, on a return trip to Dún Aonghasa, a prehistoric hill fort, a small group of us got lost in returning to the hotel and found ourselves near the top of the island with a stunning panorama of land and sea. As the wind whipped round us, we studied the network of small lanes and the coastline to plot our way back—a route that ended up taking us on a series of rocky cowpaths before we finally found the main road. One student observed that getting lost in Ireland was the most fun he'd had in a long time. Despite having been to Ireland several times before, I, too, was finding myself lost. I was seeing this familiar country through the eyes of my students, paying attention to what they noticed and how they responded. Observation, I had told them, is the core of good creative writing. Perhaps even beyond creating story, our charge as creative writers is to translate something that might be familiar in a fresh, original way for the reader—to provoke in them a gasp of recognition or a proverbial tilt of the head that signals I never thought of it that way. Such criteria is one benchmark for how we evaluate submissions at Appalachian Heritage. The stories, essays, and [End Page 6] poems must practice the art of observation, providing the reader with the essential element of discovery. In this issue, you will encounter unexpected layers of meaning and discovery in Suzanne Supplee's short story "The Simple Act of Caring," in Molly McClennen's essay "Landscapes," and in the other sterling pieces of prose. You will find yourself admiring the lyricism and turns of phrase in the poetry of Jeff Hardin, Katharine Kistler, and others. You will spend time considering the reasons for the narrative impulse in Robert Erle Barham's craft essay and marveling at how Margaret Renkl sees the world in her interview with us. All the while, I hope you will become lost in these pages, just as we were on Inishmore—that you will find yourself on some rock-strewn lane with the wind in your hair, your eyes shining like the sea. [End Page 7] Copyright © 2019 Berea College

Rice with Soy Sauce

Chris Song is executive director of the International Poetry Nights in Hong Kong. He won Extraordinary Mention in the Nosside World Poetry Prize from Italy (2013), and he is a recipient of the Young Artist Award in Literary Arts presented by the Hong Kong Arts Development Council. Rice with Soy Sauce by Chris Song But a bowl of rice with soy sauce was your breakfast yesterday. Colors of foods varied as fate played out with this resemblance on the table – Clay-pot sauce poured into brown rice to disturb every Hong Kong recipe. A cube of pork oil and a few bowls of rice warmed the postwar stomach of refugees. But in the days of excessive nutrients, it does no more than harm to the heart, romanticized as a gimmicky nostalgia of hunger in Cantonese restaurants. But how can we reminisce about the past of a lost dish? Let’s rise up and go home, cook a piece of prose and write it to adapt to the moody recipe of homesickness. Affairs of our hearts stream down as soy sauce soaks the rice. Grains, each tied against each, breathe the steam of intimacy. In this narrow kitchen we hold each other to pass through and you turn around with a bowl of rice with soy sauce – a taste of closeness from home at home. COVER FEATURE HONG KONG PHOTO: JMORITZ320/PIXABAY 72 WLT SPRING 2019 ...

Revolution Sunday by Wendy Guerra

A Blade of Grass: New Palestinian Poetry Ed. Naomi Foyle Smokestack Books Published in mirrored English and Arabic, this new collection brings together voices as diverse as the experiences of the Palestinians who created them. Whether the poetry comes from the pen of those who are currently imprisoned for their artistic resistance or those who have found themselves far from their roots through the Palestinian diaspora, the starting point of identity serves to launch each individual author in a unique direction in terms of both form and content. Inger Christensen The Condition of Secrecy Trans. Susanna Nied New Directions From Danish author and poet (as well as winner of the Nordic Author’s Prize) Inger Christensen comes this collection of essays spanning topics from the autobiographical to the universal. Fans of Christensen’s formalist style will be intrigued by her explanations of her creative process and inspirations, but even those who have never heard of her will find much to glean from her stories of schooling under Nazism and coming of age with the Cold War. seems to belong to the author. Ranging from three lines to two pages in length, these chapters loosely connect without ever forming a coherent plot. “And Then My Dog Will Come Back to Me” is the collection’s longest, second earliest, and clearly most impressive piece of prose. It recounts a man in rural Norway who murders (or not) his neighbor for having killed (or not) his dog. As his stream of consciousness progresses, we begin to notice inconsistences in the narrator's thoughts, and with the clarity of his mind slipping, the reality of recounted events becomes increasingly blurry. The buildup of tension and its slow dissolution in the fog of the narrator’s mind is carried out masterfully. Regrettably, on the opposite end of the spectrum, one must list the 2013 story “Dreamt in Stone.” Thankfully much shorter than the collection’s better pieces of fiction , it might be best to let it speak for itself: “And then you say. And then there was someone who said something to me and I tried to get up but I couldn’t, and then there was someone who helped me get up. And then I stood there. And then I opened a door. And then I went in the door and shut it behind me. And then, you say. And I say that I don’t remember anything and then I remember that I woke up and I was lying inside on the floor. I got up. I was standing. I walked.” Simplicity of language carries much of Fosse’s stories in this collection, but he has tragically taken simplicity of style too far in some of his writing. Despite their varying quality, we do find glimpses of skill and innovation in all of Scenes from a Childhood’s stories. Still, from this collection alone, it remains difficult to comprehend why people are pushing Fosse as a contender for the Nobel Prize. Felix Haas Zurich, Switzerland Wendy Guerra Revolution Sunday Trans. Achy Obejas. Brooklyn. Melville House. 2018. 208 pages. Betrayal, at all levels, is the essence of Revolution Sunday by Wendy Guerra. Cloe, a novelist and poet, is betrayed at all levels, from all directions. Betrayed by the people she loves: her mother, her housekeeper, Márgara, and her lovers. Betrayed by her neighbors who spy on her and report her movements and activities to the authorities. Finally, in an ironic twist, she is betrayed by Cuba, her home, her raison d’être, her heart: “without Cuba I don’t exist. I am my island.” Cleo, the narrator of Revolution Sunday , lives in her family home in a disintegrating Havana, the capital of an equally disintegrating Cuba. She is a passive victim of constant surveillance, control, and dictator-approved abuse. She is surrounded by people who protect themselves from the authorities by spying on her (and everyone else) and reporting their discoveries to the police, who visit her home on a regular basis, taking with them, when they leave, her work, her photographs, her computers, and anything else that they might use to prove that she is a dissident. Yet she stays in the...

Review of Photographs, 2019

Review of Photographs, 2019 Pearl A. McHaney Welty, Eudora. Photographs. Updated and expanded, UP of Mississippi, 2019, [i]-xlii, [1- 186] $50.1. Eudora Welty's Photographs, updated and expanded with digital scans of the negatives and archival prints and a new, additional foreword by Natasha Trethewey, arrives on the thirtieth anniversary of the 1989 volume of the same title.2 Eighty years old at the time of original publication, Welty contributed to the selection and captioning of the photographs. During the preceding two decades, Welty had been nationally celebrated with a Book-of-the-Month Club novel (Losing Battles), a Pulitzer Prize (The Optimist's Daughter), a best-selling autobiography (One Writer's Beginnings), awards from Presidents Jimmy Carter and Ronald Regan, more than thirty honorary doctorates, and several lifetime achievement awards. She was highly regarded, a recognizable powerhouse, but Welty's One Time, One Place: Mississippi in the Depression: A Snapshot Album (Random House 1971) had been largely eclipsed by her prose.3 The coffee-table-worthy volume of 100 photographs, with its foreword by Reynolds Price, well-known author and Welty's friend, and an extended interview by Hunter Cole, marketing director for the University Press of Mississippi and Welty's friend, and Seetha Srinivasan, director of the press, was reviewed and recommended in more than twenty publications within six months of its launch. The interview and four photographs were reprinted in the New York Times Book Review beginning on page one and concluding on pages thirty to thirty- three (22 October 1989). Photographs, 20194 greets readers with different front- and back-dustjacket photographs than for the first edition. On the cover, "Jackson / 1930s"—a woman dressed in coat, hat, and gloves (who is given an interior life by Trethewey in her foreword essay "That's Just the Way It Was")—is enlarged from the 3 x 4-inch Recomar shot to show perhaps two-thirds of the portrait that can be seen in full in plate 8. The woman looks back at the photographer, and consequently the viewers of Photographs, as did the woman on the swing seen on the 1989 volume (plate 15 here). On the back cover is "Front yard / Yazoo County / 1930s" (plate 63), one of Welty's earliest photographs [End Page 11] taken with her Kodak camera (2 ½ x 4 ¼ inch photos), replacing a slightly cropped portrait "Delegate / Jackson / 1938" and a statement by Welty drawn from the interview. Now, excerpts from Trethewey's foreword and a collage of quotations from the New York Times' 1989 review including a quotation from Reynolds Price speak out below "Front yard." In addition to the new foreword, two other pieces of prose situate this new edition of Photographs. First, at the top of the inside front flap of the dust-jacket, is a comment by native Mississippi photographer Maude Schuyler Clay (Delta Land Photography, 1999, and Mississippi History, 2015, which was begun in 1975 with Clay's first Rolleiflex camera). Much as many fiction writers claim that reading Welty gave them the permission to tell their own stories, Clay cites Welty acknowledging that she was "well-positioned" to take her photographs because she "was a part of [the scene], born into it, taken for granted"5 and that Welty gave Clay "a framework for [her] own work." From 1971, first seeing Welty's visual work, to 1999, showing Welty her Delta Land photographs, to 2019, seeing Photographs in this new edition, Clay is particularly suited to introduce the new volume. In addition, Welty's May 1999 acknowledgements are here matched by those of Welty's niece Mary Alice Welty White, October 2018, thanking the University Press of Mississippi, the Mississippi Department of Archives and History (MDAH) and the Eudora Welty Collection responsible for the 1989 and 2019 Photographs. White gives special appreciation to Forrest Galey, Special Projects Officer in the Archives and Record Services Division of MDAH for her "meticulous care of each of the images," Suzanne Marrs (White's friend as well as Welty's), and her grandfather, Welty's father, "for introducing" Welty to the camera ([vii]). The 2019 updated and expanded edition is the fine result of the collaborative efforts of...

«The Harmless Self-observer». Beyond Good and Evil as Poetological Model for Robert Walser's Early Prose Pieces

«The Harmless Self-observer». Beyond Good and Evil as Poetological Model for Robert Walser's Early Prose Pieces

Affective History in A Mirror for Magistrates: Embodied Encounters and Performative Pasts

Scholarship has largely ignored A Mirror for Magistrates (1559), and specifically its prose frame, because of the shamelessly unrealistic composition process it depicts. According to these prose pieces, the Mirror’s authors pretend to be fifteenth-century figures whose complaints they then record in the space of twenty-four hours. Passing over the Mirror’s fictionalized origins, however, obscures how its frame narrative transforms the act of writing historical verse tragedies into a performative, and problematically avant-garde, experience for the Mirror’s writers and readers. The Mirror’s prose frame enables its contributors to turn historical play-acting into an innovative methodology for experiencing the past in the present. The dramatized complaint poems require the Mirror’s authors to take on the stories, personalities, voices, and (imaginatively) mutilated bodies of past people; therefore, the prose frame invents a performative model of history, in which the past can be made emotionally and physically present. Changes in the Mirror’s second edition (1563) evidence a discomfort with and fear of the very encounters with history that this methodology enables. This affective reaction leads the Mirror authors to abandon a form of performative history that the following generation of English writers and playwrights deliberately seek out. [M.L.]

이옥의 사대부 의식 - 『봉성문여(鳳城文餘)』 및 제(諸) 시문(詩文)을 중심으로

이옥의 사대부 의식 - 『봉성문여(鳳城文餘)』 및 제(諸) 시문(詩文)을 중심으로

Moral Sensibilities, Emotions, and the Law: Extralegal Considerations in Tang Literary Judgments on Spousal Relationships

AbstractLiterary judgments (pan 判) were highly stylized prose pieces from the Tang dynasty written in response to legal and administrative controversies. The ability to compose judgments was the principal criterion by which candidates were selected for offices in the Tang bureaucracy. In this article, judgments written for cases that involved disputes between (prospective) spouses and their families are examined, with a focus on the use of extralegal considerations to resolve sensitive domestic conflicts. By analyzing select hypothetical judgments from Bai Juyi’s literary collection and three other judgments on family law cases (from a Dunhuang manuscript, a Tang miscellany, and the Song compendium Wenyuan yinghua 文苑英華), we may see how literary language and allusions played a role in eliciting the moral sensibilities and emotions of readers. For these cases, this strategy was more effective than arguments based on formal legal sources alone.