Sea Of Blood Research Articles

국립민족예술단과 북한의 민족음악

This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene.
 From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created.
 Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization.
 Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.

김정일의 『영화예술론』과 북한영화

The history of North Korean cinema is divided into before and after Kim Jong-il led the film territory. Kim Jong-il was in charge of propaganda and agitation in the mid-1960s. In addition, he led the qualitative change in the literary territory with a focus on the film territory. In the process, he took the lead in the liquidation of person in the North Korean film industry and took the lead in creating so-called revolutionary films such as “Sea of Blood” with detailed guidance in all areas of production, from writing a scenario to directing, filming, acting, and making stage.Kim Jong-il’s achievements in the film territory are concentrated in his “On the Art of the Cinema”. This book is a problematic work that encompasses the development and limitations of film art during the Kim Jong-il era. This article focuses on the theory of film art and examines its system, form, and content. Also in this article, I reveal that starting with the theory of film art, the literary center of the Kim Jong-il era began to expand into fields other than film. It relates to achievements in the fields of play, literature, art, architecture, music, etc., completed from the late 1980s to the early 1990s.

'Sea of blood': the intended and unintended effects of criminalising humanitarian volunteers assisting migrants in distress at sea.

This paper investigates the impact of the recent criminalisation of humanitarian actors engaged in the search for and rescue of migrants in distress in the Mediterranean Sea, focusing on the impact on the motivation and engagement of humanitarian volunteers in Greece. It argues that criminalisation is aimed at reducing search and rescue (SAR) activities and thus removing perceived 'pull factors' for migrants. The paper locates this phenomenon within the broader trend of policing and punishing those who assist migrants in order to deter them and prevent others from engaging in such endeavours. It finds that efforts to criminalise can have the unintended effects of encouraging and mobilising volunteers, as well as generating public attention and support for migrants. However, the negative consequences of criminalisation are far-reaching, including contributing to a high mortality rate among those crossing the Mediterranean without SAR capabilities and the heightened risk of violence against migrants and those who help them.

Hybrid in Form, Socialist in Content: The Formal Politics of Chŏlga in the North Korean Revolutionary Opera Sea of Blood

AbstractKim Jong Il considered the 1971 premiere of the opera Sea of Blood a watershed moment in opera history. He lauded its innovative use of chŏlga (‘stanzaic song’) rather than aria and recitative. By Western analytical standards, however, chŏlga is simple and predictable, so scholars have thus far glossed over its conventions and their signification. This article instead argues that chŏlga conventions exhibit cultural hybridity and that Kim leveraged such hybridity to advocate a modern, popular, and national sound for North Korea. I begin by outlining hybrid characteristics of colonial-era popular music that chŏlga inherited. I then explore Kim's engagement with such trends in his speeches on chŏlga and demonstrate that cultural hybridity was central to his understanding of sonic modernity. Finally, I analyse a scene from Sea of Blood that pits chŏlga against other music genres, leading to a symbolic victory for the form and for the Korean nation.

Blood Pressure in Acute Stroke: To Treat or Not to Treat: That Is Still the Question.

One of the oldest questions in acute stroke management, and perhaps the most challenging since it has yet to be solved after more than half a century of published research, is how to manage high blood pressure (BP). The problem might be summed up as follows: > To treat , or not to treat : that is the question: > > Whether ’tis nobler in the mind to suffer > > The slings and arrows of outrageous pressure , > > Or to take drugs against a sea of blood , > > And by opposing end them? To live : to walk ; > > —With apologies to Shakespeare , Hamlet Act III, Scene I To treat, or not to treat, high BP was debated >30 years ago in 1985,1–3 and yet there is no definitive answer here in 2018. Part of the debate is driven by opposing arguments based on epidemiology and pathophysiology and part by the failure of every large trial to provide a definitive answer. There is considerable evidence that high BP is associated independently with a poor outcome after ischemic stroke (IS) whether defined by early recurrence or death, or late death and dependency.4,5 Similarly, high BP is related to hematoma expansion6 and functional outcome after intracerebral hemorrhage (ICH).7 A straightforward conclusion of this epidemiological evidence is that high BP should be lowered. In contrast, pathophysiological concerns are based on the presence of dysfunctional cerebral autoregulation during acute stroke, and so lowering BP will reduce tissue perfusion, increase lesion size, and thereby worsen outcome.8 There are many causes of high BP in acute stroke, including prior hypertension, acute neuroendocrine stimulation (via the renin-angiotensin-aldosterone system [RAAS], sympathetic autonomic nervous, and corticotrophin-cortisol systems), the Cushing reflex (due to raised intracranial pressure), and stress associated with admission to hospital and …

"A Sea of Blood and Smoking Ruin": Reflections on Sam Houston and Slavery

"A Sea of Blood and Smoking Ruin":Reflections on Sam Houston and Slavery Randolph B. Campbell* Click for larger view View full resolution Sam Houston in half-plate daguerreotype produced at the studio of Mathew Brady between 1848 and 1850. [End Page 134] The institution of slavery in the United States, the holding of people of African descent as chattel property, was a curse and a tragedy to everyone involved. The "Peculiar Institution," as southerners called it—not because it was strange, but because it was largely limited in the United States to the South and therefore defined the South—was wrong. It was wrong not primarily as a political matter and not as an economic matter, but wrong as a matter of morality. Well before the middle of the nineteenth century, many societies in the western world had generally concluded that the practice of one human owning another human as a piece of chattel property and treating that human the way any other chattel could be treated—for example, buying and selling it at will—was wrong.1 Nothing could make slavery "right." The way slaves were treated mattered, of course. For example, slaves' hours of labor, their food, their housing, and the punishments inflicted by their owners—every aspect of their day-to-day lives—obviously mattered in determining what life was like for those who had to endure slavery. However, it must always be understood that no amount of "kind" treatment could make slavery anything but wrong. Certainly, those who were enslaved knew it. [End Page 135] William Owens made this point perfectly in his memoir of growing up in North Texas, This Stubborn Soil. As a youth Owens visited two aged former slaves in Lamar County. Having been taught that slavery was an essentially benign institution, he believed that his hosts had been well taken care of in terms of food and shelter and said, "You'd a been better off staying slaves." One of the former slaves replied, "Don't say that. You don't know what you saying. Somebody else done said it and you believed 'em. … Don't let anybody tell you nothing about slavery … You don't know nothing about being a slave until you been one."2 So, take that old man's word for it, nothing could make slavery more than a wrong to be endured. The institution came with a huge price, the largest part of which certainly was paid by the enslaved, but in reality it exacted a price from virtually every human in the antebellum South, no matter how important or powerful they were. Consider the relationship between the greatest of all Texas leaders—Sam Houston—and the institution of slavery. Sam Houston was born into a slaveholding family in Rockbridge County, Virginia, in 1793, and he remained entangled in the peculiar institution for the entire seventy years of his life. When Sam Houston was born, his father, Major Samuel Houston, was too busy with his military career to place much emphasis on building a plantation, but the biographer Marquis James wrote that a slave named Peggy cared for Sam as a toddler and that at least five slaves accompanied the family members when they moved to East Tennessee in 1807 following the death of Major Houston. Sam Houston knew slavery from his infancy. It was always a fact of his life.3 During the twenty-five years from 1807, when he moved from Virginia to Tennessee, until 1832, when he first went to Texas, Sam Houston led a wild and reckless existence that only a very fortunate person (such as his hero Andrew Jackson) could have survived. Sam refused his family's demands that he settle down to a steady occupation, ran away, lived with the Cherokee Indians for almost three years, and joined the United States Army. He fought in the War of 1812 and nearly lost his life at the Battle of Horseshoe Bend in 1814. After the war, he became a lawyer in Nashville and began a highly promising political career that took him to the governorship of Tennessee in 1829, but the breakup of his ill-fated [End Page...

How Do You Deactivate Painful Scars in Your Practice?

How Do You Deactivate Painful Scars in Your Practice?

Chōng $$ an Ancient Chinese Description of the Vascular System?

The objectives of this research are, first, to establish if the extraordinary acupuncture meridian known as Chōng, Penetrating Vessel or Sea of Blood, is in essence a description of certain macroscopic parts of the underlying vascular system and, second, by extension, to show that it is likely that cadaveric dissection would have been used as a tool to arrive at this understanding. Generally accepted scholarly opinion holds that the ancient Chinese rarely used dissection in order to explore the anatomy of the human body, and that the meridians are therefore invisible metaphysical structures corresponding to lines drawn on the body. However, the seminal text, 'The Yellow Emperor's Classic of Internal Medicine', describes using palpation to examine the living and dissection to examine the dead. This implies that the original authors of these texts were observing physical structures visible to the naked eye. Dissection has therefore been used to compare the descriptions of the Chōng meridian in 'The Yellow Emperor's Classic of Internal Medicine' with the vascular anatomy of the human body. Fifteen acupuncture points located on various different ordinary meridians but bearing the same name, Chōng, were also examined to see if they bore any relationship to the vascular system. The dissections clearly show that the Chōng meridian correlates to certain main blood vessels in the body, in particular the vena cava. Similarly, most Chōng acupuncture points have a strong correspondence with blood vessels, marking terminal arteries on the hands, feet and forehead and anastomoses on the face, body and feet. These findings strongly suggest that the ancient Chinese texts relating to this meridian are likely to have been a 'description' of the vascular system. Furthermore, the ancient Chinese apparently had a high degree of anatomical skill in the practice of dissection and acute powers of observation.

Mothers and Maidens: Gendered Formation of Revolutionary Heroes in North Korea

North Korean political discourse is distinctive in its application of maternalism across genders in which motherhood is depicted as an ideal model for men as well as women. This article seeks to explain how motherhood has been redefined in the process of North Korean nation building, and what influences this process has had on the formation of gendered identities as part of modern subjectivity. The following research examines two of the three so-called great classics of anti-Japanese revolutionary works, Sea of Blood (P’ibada) and The Flower Girl (Kkot p’anŭn ch’ŏnyŏ), to compare the two female heroines and their roles as consummate revolutionaries. Reported to have originated as stage plays during the 1930s anticolonial guerrilla struggle in Manchuria, throughout the 1970s the plays developed into films, live operatic performances, and finally novels. While the works may officially serve to project images of national unity against imperialism, they raise interesting questions about the role of gender in postcolonial state formation. By comparing the mother in Sea of Blood and the maiden in The Flower Girl, this article explores the significance of gender in the construction of modern militarized citizenship in North Korea.

Theatres of violence: massacre, mass killing and atrocity throughout history

List of Tables, Illustrations, and Maps Acknowledgements Introduction:The Massacre and History Philip G. Dwyerand Lyndall Ryan PART I: MASSACRE AND ATROCITY IN THE ANCIENT AND PRE-MODERN ERAS Chapter 1. Origins of Massacres John Docker Chapter 2. Massacres in the Peloponnesian War Brian Bosworth Chapter 3. The Abominable Quibble: Alexander's Massacre of Indian Mercenaries at Massaga Elizabeth Baynham Chapter 4. Roman Concept of Massacre: Julius Caesar in Gaul Jane Bellemore Chapter 5. Atrocity and Massacre in the High and Late Middle-Ages Laurence W. Marvin Chapter 6. A Sea of Blood? Massacres during the Wars of the Three Kingdoms, 1641 - 53 Inga Jones PART II: THE COLONIAL FRONTIER Chapter 7. Looking the Other Way: Gnadenhutten Massacre and the Contextual Interpretation of Violence Rob Harper Chapter 8. Settler Massacres on the Australian Colonial Frontier, 1836-1851 Lyndall Ryan Chapter 9. Tactics of Nineteenth Century Colonial Massacre: Tasmania, California and Beyond Benjamin Madley Chapter 10. A Blueprint for Massacre: United States Army and the 1870 Blackfeet Massacre Blanca Tovias de Plaisted Chapter 11. When Massacre Appears: Representations of Australian Indigenous Massacres in Fiction Katrina Schlunke PART III: CONTESTED NARRATIVES: MEMORY, ATROCITY AND MASSACRE Chapter 12. Memories of Massacres and Atrocities during the Revolutionary and Napoleonic Wars Philip G. Dwyer Chapter 13. Stalin's Trap: Katyn Forest Massacre between Propaganda and Taboo Claudia Weber Chapter 14. Great Secret: Sites of Mass Killings in Stalinist Russia Francois-Xavier Nerard Chapter 15. Spectacular Atrocities: Making Enemies during the 1965-1966 Massacres in Indonesia Annie Pohlman Chapter 16. A Necessary Salve: 'Hue Massacre' in History and Memory Scott Laderman Chapter 17. A Battle for Perceptions: Revisiting the Cassinga Controversy in Southern Africa Gary Baines PART IV: THE DYNAMICS OF MODERN MASSACRE AND MASS KILLING Chapter 18. Method in their Madness: Understanding the Dynamics of the Italian Massacre of Ethiopian Civilians, February-May 1937 Giuseppe Finaldi Chapter 19. Algerian War on French Soil : Paris Massacre of 17 October 1961 Helene Jaccomard Chapter 20. Wedding Massacres and the War in Afghanistan Stephen J. Rockel Select Bibliography Notes on the Contributors Index

Navigating the Course of “Sea of Blood” a Preface

Navigating the Course of “Sea of Blood” a Preface

Navigating the Course of “Sea of Blood” a Preface

Navigating the Course of “Sea of Blood” a Preface

Progress in study on shen-invigorating herbs used in promoting follicular development

The practice of stimulating follicular development by Shen-invigorating herbs is directed by traditional Chinese medical theories of "the Shen stores essence of life and governs reproduction" and also the theory of "females" periodicity of the ebb and flow of the blood sea". The follicular phase has physiologic characteristics of blood sea ebbing and yin growing, accordingly using the treating principle of invigorating Shen and nourishing the essence can stimulate follicles" normal development and maturation which can cure many diseases such as female infertility, menoxenia and amenorrhoea. This article will give an introduction of the recent 10 years" research of Shen-invigorating treatment in stimulating follicular development

An Island in a Sea of Blood: The Ubaté Valley During the Colombian Violencia, 1946–58

The article deals with the hacienda and peasant worlds of the Ubaté Valley during the civil war in Colombia (1946 to 1958), a period generally referred to as la Violencia. Unlike other areas of the country, the Ubaté Valley enjoyed an unusual degree of stability during this time. This study examines the circumstances that led to such an atypical outcome. Briefly stated, the study suggests that the local power system worked relatively independently of national structures and even counterbalanced their effects, such that maintaining the peace was “inevitable.” Careful strategies were developed, mainly by local politicians, for this purpose, so as to maintain effective political control over the peasantry.

Confronting fear with laughter

Burma's army terror has turned the country into a 'mountain of bones and a sea of blood'

The Eighth Day of Creation: William Carlos Williams' Late Poems

Even before he finished the last part of Paterson as he had originally conceived it-with its four-part structure--Williams was already thinking of moving his poem into a fifth book. The evidence for such a rethinking of the quadernity of Paterson exists in the manuscripts for Book IV,1 for there Williams, writing for himself, considered extending the field of the poem to write about the river in a new dimension: the Passaic as archetype, as the River of Heaven. That view of his river, however, was in 1950 premature, for Williams still had to follow the Passaic out into the North Atlantic, where, dying, it would lose its linear identity in the sea of eternity, what Williams called the sea of blood. The processive mode of Paterson I-IV achieved, however, Williams returned to the untouched key: the dimension of timelessness, the world of the imagination, the apocalyptic moment, what he referred to as the eighth day of creation.