scholarly journals A Study on the possibility of in the Deterritorial viewpoint - Focused on the Work-History of Korean Chinese Poetry -

2009 ◽  
Vol null (29) ◽  
pp. 149-173
Author(s):  
임수경
Keyword(s):  
Chinese Poetry ◽  
Work History ◽  
Korean Literature ◽  
History Of ◽  
Korean Chinese

"HISTORY OF THE PROPHETS AND JUDGES" -AN EXAMPLE OF SPIRITUALITY AND ART

2020 ◽  
Vol 2 (3) ◽  
pp. 192-197
Author(s):  
Sevinch Eshonkulova ◽  
Keyword(s):  
Work History ◽  
History Of ◽  
Universal Values ◽  
Good And Evil

This article is dedicated to Alisher Navoi's "History of the Prophet and the Ruler", which depicts the faith, patience and high qualities of the prophets in art. The article analyzes and interprets universal values, issues of faith, issues of good and evil, as well as the narration of the history of the prophets -the continents of the byte, rubai andfour verses at the end of these stories. The work "History of the Prophet and the Ruler" shows that the flower of literature is a masterpiece of spirituality and art

Translating iconicities of classical Chinese poetry

Semiotica ◽  
2018 ◽  
Vol 2018 (224) ◽  
pp. 19-44
Author(s):  
Guangxu Zhao ◽  
Luise von Flotow
Keyword(s):  
Ezra Pound ◽  
Point Of View ◽  
Target Language ◽  
Chinese Characters ◽  
Chinese Poetry ◽  
Princeton University ◽  
Amy Lowell ◽  
Classical Chinese ◽  
Classical Chinese Poetry ◽  
History Of

Abstract In the history of translating classical Chinese poetry, there are two kinds of translators. The first kind translate classical Chinese poetry “by way of intellectual, directional devices” (Yip, Wai-lim. 1969. Ezra Pound’s Cathay. Princeton, NJ: Princeton University Press: 16). What these translators are concerned with most is the coherence of their translations. They give little attention to the ideogrammic nature of Chinese characters. I call them traditional translators. These translators include those in the history of translating classical Chinese poetry from its beginning to the first decade of the twentieth century, although there are still some who translate classical Chinese poetry in this way later. The second kind of translator is highly interested in the images created by ideogrammic Chinese characters and tries to convey them in target language. We call them modernist translators. These translators are represented by some American modernist poets such as Ezra Pound, Amy Lowell, Florence Ayscough, etc. From the point of view of iconicity, modernist translators’ contribution lies in their concern with the iconic characteristics of Chinese characters. But they did not give enough attention to syntactical iconicity and textual iconicity in classical Chinese poetry.

Art and Social Work: History and Collaborative Possibilities for Interdisciplinary Synergy

2017 ◽  
Vol 29 (6) ◽  
pp. 698-707 ◽  
Author(s):  
Laura Burney Nissen
Keyword(s):  
Social Work ◽  
Work History ◽  
Psychology Education ◽  
Call To Action ◽  
The Arts ◽  
The Social ◽  
Individual Family ◽  
History Of ◽  
Social Work History ◽  
Current Potential

This article will stretch the boundaries of the interdisciplinary lens to consider the history of and current potential for the arts to enhance, advance, and amplify individual, family, and community social change goals of the social work profession. To begin, consider the following questions: What would inspire artists and social workers to intentionally work together to reveal new strengths, energy, and capacity in the areas we care about? What do the arts have to teach the profession of social work and vice versa? How have the arts already played a role in the profession, and what has impaired social work’s ability to make greater use of the strengths associated with the arts? How have other professions (public health, psychology, education, and others) incorporated partnerships with the arts? This article concludes with a call to action to advance the potential of the arts in coordination with social work and related disciplines.

scholarly journals Introducción al género lírico coreano "sicho (시조)"

2012 ◽  
Vol 1 (18) ◽  
pp. 268
Author(s):  
Hye-jeoung Kim
Keyword(s):  
Simple Form ◽  
Oral Tradition ◽  
Contemporary Literature ◽  
Western Tradition ◽  
Korean Literature ◽  
Korean People ◽  
Broad Base ◽  
Different Types ◽  
History Of

El género lírico sicho, desarrollado principalmente a finales del reino Koryo (918-1392) y a lo largo de 500 años del reino Choson (1392-1910), destaca por la amplia base de escritores y lectores que disfrutan de él y, a la vez, por su presencia activa en el panorama de la literatura contemporánea. Su larga tradición y su vigente actualidad testimonian más que suficientemente su valor como uno de los géneros más importantes de la literatura coreana. A nuestro juicio, la razón por la que el sicho sobrevive hasta hoy radica en su forma sencilla de tres versos breves, siendo un medio adecuado y eficaz para transmitir la sensibilidad lírica del pueblo coreano. Se tiende a pensar que, a lo largo de la historia de la literatura coreana, cada época concibe su propio género lírico, ya incorporado y archivado en la tradición oral, como el hyangga (향가), propio del reino Silla o el sokyo (속요) característico de Koryo. En cambio, la forma lírica del sicho persiste entre los diferentes tipos de poemas contemporáneos, tal como sucedió con el soneto en Occidente, cuya composición es aún muy valorada.The lyric genre shijo, developed primarily in the late Koryo period (918-1392) and over 500 years of the Choson Kingdom (1392-1910), stands out by the broad base of writers and readers who enjoy it, and, at the same time, by its active presence in the landscape of contemporary literature. Its long history and active present testify more than sufficiently its value as one of the most important genres of Korean literature. In our view, the reason why shijo survives today lies in its simple form of three short verses, being an appropriate and effective way to transmit the lyrical sensibility of the Korean people. We usually think that, over the history of Korean literature, every time conceive its own lyric, incorporated and filed in the oral tradition, as hyangga (향가) proper of Silla kingdom, or sokyo (속요), characteristic of Koryo. Instead, the lyrical form of shijo persists among different types of contemporary poems, like the sonnet in the Western tradition, whose composition is still highly valued.

Koreans in China

Homing ◽  
2017 ◽  
Author(s):  
Ji-Yeon O. Jo
Keyword(s):  
National Minority ◽  
Minority Status ◽  
Korean Language ◽  
Cultural Traditions ◽  
Family Stories ◽  
History Of ◽  
National Border ◽  
Communal Living ◽  
Korean Chinese ◽  
Ethnic Policy

I trace the sociopolitical history of Korean Chinese, illustrating the pathways they took to become Chinese citizens while negotiating their national minority status as ethnic Koreans. Relative to other diaspora Koreans, Korean Chinese have succeeded to a remarkable degree at maintaining the Korean language and cultural traditions; this is primarily due to the communal living that they were able to sustain due to the Chinese government’s tolerant ethnic policy, which allowed not only the establishment of the Yanbian Autonomous Prefecture, but also ethnic education via the Korean language. Nevertheless, their status as diasporans residing near the national border with the ancestral homeland yet largely prohibited from “returning” has created an affective condition of “longing” among the Korean Chinese, a longing which has been intergenerationally transmitted through family stories, metaphorical teachings, and cultural traditions.

The Feminization of Translation

Meridians ◽  
2021 ◽  
Vol 20 (1) ◽  
pp. 193-217
Author(s):  
Min Young Godley
Keyword(s):  
English Translation ◽  
Colonial History ◽  
Female Subjectivity ◽  
Korean Culture ◽  
Korean Literature ◽  
Women's Voices ◽  
Original Culture ◽  
Korean Nationalism ◽  
History Of ◽  
International Audience

Abstract The awarding of the 2016 Man Booker International Prize to Deborah Smith’s English translation of The Vegetarian brought global recognition to emergent Korean literature, but domestically it has sparked outrage among numerous Korean scholars who believe the literal inaccuracies in Smith’s translation have brought about a “national disgrace.” Situating this overheated reaction in the larger context of the colonial history of Korean nationalism, this article points out the irony that the “noble cause” of anti-imperialist resistance has historically led to the silencing of women’s voices in the context of preserving and transmitting an idea of quintessential Korean culture to an international audience. Such nationalist tendencies demand the “feminization” of the translator—requesting her to be barely visible while performing a self-effacing humility in deference to the putatively “original” culture. In contrast to this tendency, reading Han’s original and Smith’s translation together makes visible the damages that both colonization and nationalism have inflicted on the representation of female experiences. In the end, what truly scandalizes nationalist critics is not the failure of the translator to accurately convey Korean experiences, but the success of the translation in conveying an area of Korean experience they tend to neglect: that of female subjectivity.

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