As representatives of Chinese and Western satirical literature,Mark Twain’s Running for Governor and Wu Jing-zi’s The Scholars are very prominent in satirical art.With comparative analysis between these great works,...As representatives of Chinese and Western satirical literature,Mark Twain’s Running for Governor and Wu Jing-zi’s The Scholars are very prominent in satirical art.With comparative analysis between these great works,this paper makes a contrastive analysis of the differences in the expression of satire between the two,to find deep understanding of satirical literature and the differences in literary satire expression between China and the West.展开更多
The Gushu Chuanqi[Legend of Ancient Shu]trilogy is historically grounded,although it is largely fictional.Five characteristics of the society represented in the trilogy,i.e.,walled cities,sacred statues,silk fabrics,b...The Gushu Chuanqi[Legend of Ancient Shu]trilogy is historically grounded,although it is largely fictional.Five characteristics of the society represented in the trilogy,i.e.,walled cities,sacred statues,silk fabrics,burials,and pottery,were examined with the aid of related historical records and archaeological objects of art unearthed in Sichuan.This paper made a comparative study of these things with their respective textual descriptions in the Menghui Gushu[Ancient Shu Revisited in the Dream],the first volume of the Gushu Chuanqi[Legend of Ancient Shu]trilogy by Huang Jianhua.The results support the assertion that the trilogy is not a free interpretation of history but historical fiction based on true stories.展开更多
This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the in...This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.展开更多
文摘As representatives of Chinese and Western satirical literature,Mark Twain’s Running for Governor and Wu Jing-zi’s The Scholars are very prominent in satirical art.With comparative analysis between these great works,this paper makes a contrastive analysis of the differences in the expression of satire between the two,to find deep understanding of satirical literature and the differences in literary satire expression between China and the West.
文摘The Gushu Chuanqi[Legend of Ancient Shu]trilogy is historically grounded,although it is largely fictional.Five characteristics of the society represented in the trilogy,i.e.,walled cities,sacred statues,silk fabrics,burials,and pottery,were examined with the aid of related historical records and archaeological objects of art unearthed in Sichuan.This paper made a comparative study of these things with their respective textual descriptions in the Menghui Gushu[Ancient Shu Revisited in the Dream],the first volume of the Gushu Chuanqi[Legend of Ancient Shu]trilogy by Huang Jianhua.The results support the assertion that the trilogy is not a free interpretation of history but historical fiction based on true stories.
文摘This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.
