353,791 research outputs found
Oral History Interview: Memee King Chun (908)
No full textIn her January 2008 interview with Ann Peckham, Mémée King-Chun discusses her time at the University of Wisconsin-Madison Medical School from 1961 to 1991. To learn more about this oral history, download & review the index first (or transcript if available). It will help determine which audio file(s) to download & listen to.In her January 2008 interview with Ann Peckham, Mémée King-Chun discusses her time at the University of Wisconsin-Madison Medical School from 1961 to 1991. She talks about her father’s service in China’s diplomatic corps, her transitory youth in Europe, and her eventual training at Bryn Mawr College and Columbia University. She chronicles some of her responsibilities in and contributions to medical education at UW-Madison after moving to Madison with her husband, Raymond Chun. She reflects on discrimination against women in medical school admissions and salaries, multicultural experiences as a Chinese student, and the experiences of other family members. This interview was conducted for inclusion in the University of Wisconsin-Madison Oral History Project
North Korean Economy: A Historical Assessment
No full textPart Five (Chapter 16)presents a historical review of North Korea`s economic system and policies together with its performances. Analyzing the causes of its economic plight in the 1990s, the authors also suggest a direction for the reforms required to improve its economic situation.PartⅤ. North Korean Economy
16. North Korean Economy: A Historical Assessment, Hong-Tack Chun and Jin ParkTRU
Otto Miltz: Das Auge der Polyphemiden. Zoologica, hrsg. von C. Chun, 11 (28), 60 S. 1899
No full textOTTO MILTZ: DAS AUGE DER POLYPHEMIDEN. ZOOLOGICA, HRSG. VON C. CHUN, 11 (28), 60 S. 1899
Zeitschrift für Psychologie und Physiologie der Sinnesorgane (-)
Zeitschrift für Psychologie und Physiologie der Sinnesorgane (25) (a0005)
Otto Miltz: Das Auge der Polyphemiden. Zoologica, hrsg. von C. Chun, 11 (28), 60 S. 1899 (25) (p0260
Callianira antarctica Chun 1897
No full textCallianira antarctica Chun, 1897 Distribution in South America: Pacific Ocean, Chile, from 54°S to 55°S (Chun 1898; Pagès & Orejas 1999); Atlantic Ocean, Argentina, at 52°S (Mianzan 1999). Habitat: epi-mesopelagic species, found in Antarctic and Subantarctic waters (Pagès & Orejas 1999).Published as part of M. P. Oliveira 1,16, S P. Miranda 2, *,, Es W. Mianzan 10,, Ro E. Migotto 11,, Ne B. Nascimento 2,11, Eli Nogueira Júnior 12,, Er Quiñones 13,, Izio Scarabino 14,, Tín Schiariti 10,, Io N. Stampar 15,, Tronolone 2, , Quíria B. & Onio C. Marques 2,11, 2016, Census of Cnidaria (Medusozoa) and Ctenophora from South American marine waters, pp. 1-256 in Zootaxa 4194 (1) on page 214, DOI: 10.11646/zootaxa.4194.1.
Perspectives on Identity, Migration, and Displacement
No full textPerspectives on Identity, Migration, and Displacement -- edited by Steven Tötösy de Zepetnek, I-Chun Wang, and Hsiao-Yu Sun (Kaohsiung: National Sun Yat-sen University Press, 2010. ISBN 9789860235418 209 pages, bibliography, index) is a collection of articles about sociological and literary aspects of identity formation as a consequence of (im)migration. (Im)migration results in the problematics of assimilation and hybridity and in postcolonial scholarship, in particular, attention is paid to the concept of migration termed Creolization on the ground that cultural contact, cultural transmission, and cultural transformation result in the creation of new cultures. Copyright release by National Sun Yat-sen University to the authors 2013
Chun-aing Dance
No full textThis report has significant in helpful in defining conceptions about court jung-jae by studing elements based on old records, in being restored to the original forms of dancing gesture by making clear the general forms and characteristics, in finding the revials of old jung-jae (jung-jae means dance in the palace) which had inherited in the records by generalized the means of the dancing gesture about chun-aing dance which is hyang-ak jung-jae on the traditional court dance.
Seeing the structure and progress of the transformation on court jung-jae, it was consist of having racial characteristics, on the other hand, transcending individual emotional express having the idea of the dual principles of the Negative and positive and Five elements of oriental philosophy during procedure of the ceremony and in structure, in fune of dance it is courtesy, slow and grace, an objects and purpose is obious in it's contents , well consist in forming and conposition, during the play it is besed on the rigid rule and systems in every chapter.
Chun-aing dance was known with being maked dance at hearing the chirpring of or oriole's sound twig of a willow in someday spring morning, for congratulating the fortieth birthday of Suk queen's by Hyo-myung crown prince at twenty-eight king Soon-zo in Yi-dynasty as typical court dance in Korea, and on a mat woven with flower patterns restricted 6Za (Za is the lenth unit), it elegance solo dance slowly, as though, it was danced male and female but female had most, male dancer put on poken(poken is one of a hat) and wear angsam(angsam is one of Korean jacket), female dancer put on whagawn(whagawn is one of a hat) and were angsam, angsam's yellow color means a oriole. In "Jung-jae moo do hulgi" (this is one of old records) chun-aing dance had many terms of poetical dancing gestures as following, HAERAN, BIRI, HAEDOO, DABDABGO, TAWAN ANGZANG, HYA-JEANTAE, NACKWHAYOUSU, YAEIEPOONG, BIGUMAS, HAEPASIN, KAWGAE-SUN, RYAENGISO and etc, Especially in HAERAN, it is rounding as like the bird are round with spreading the two wings, containing other meanings compare with the other jung-jae, HEAD00 stated very detail with their eyes by "SUDAEYOOGADOOCHUKCHA", "HWAJEANTAE which was rated high, honorable and expensive, has the scene for valuation on their high and fair culture of court dance by showing the pretty laughing of eye's smile which is the climax in the dance.
So this report wants to study names about gesture for Court dance in chun-aing dance. It had apperared in twnenty-eight years of king SOON-Z0 by HYO-MYUNG crown prince when it's gold-enage of palace jung-jae in korea and to see the "CHUNG GUK MOO DO SA (history of chinese dance)" by HASIHO, it was popular on GOZONG of DANG empire(7c) in china and on HAEIYAN period(l0c) in japan. In CHUN-AING'S danceing form was disappeared in actual division between HYANG-AK jun-jae and DANG-AK jung-jae, after IMGIN war(1592) with japan an BYEANGJA war(1637) with china, it was interrupted long time, a new musical piece was created as accompany music, named "HYANGDANGGY0Z00" in king HYOZONG by mixed forming. As mentioned above, CHUN-AING dance is one of the lovely represent court dance with most and well known to us, with performing solo dance at court cermany in Yi-dynasty with remain not changed but almost originated in contents and forming and has been most composition on dancing gesture among the court jung-jae.;본 논문은 전통궁중무용 중에서 향악정재 양식인 춘앵전에 관하여 그 내용과 형식 및 제반적인 요소들을 옛 문헌을 중심으로 연구함으로써 궁중정재에 관한 내용을 명백히 하고, 그 일반적 형태 및 특징을 규명하여 춤사위의 원형을 복원하고, 정재의 춤사위 명칭을 일반화하여 문헌에 전해오는 옛 정재의 재현을 모색 할때 도움이 되는데 그 의의를 두었다.
궁중정재의 구조와 변화과정을 살펴보면, 정재는 개개의 작품이 독자적인 감정표현을 초월하여 민족적인 성격을 지니며, 의식절차 및 구조자체에 음양오행 (陰陽五行)의 동양철학 사상이 깃들여 있고, 춤가락이 정중하고 느리면서도 우아하고, 내용에 있어 목적과 의도가 분명하며, 형태 구성이 잘 정돈되어 있으며, 연희과정에는 기·승·전·결의 엄한 격식과 질서를 바탕으로 이루어져 있다.
춘앵전은 우리나라의 대표적인 궁중무용으로 조선 28대 순조때 부터로 전하며, 길이 6자의 제한된 화문석(花紋度) 위에서 한없이 느리게 추는 우아한 독무(獨舞)로 무동(舞童)과 여기 (女妓)에 의해 계속 되었으나 대개 여기(女妓)가 추었으며, 무동(舞童)은 복건(服巾)을 쓰고 앵삼(鷺衫)을 입고, 여기(女妓)는 화관(花冠)을 쓰고_앵삼(鷺.衫)을 입는데 누런 빛깔의 앵삼(鷺衫)은 꾀꼬리를 상징한다.
「정재무도흘기(呈才舞圖笏記)」에 춘앵전은 회란(廻鸞) 비리 (飛履) 회두(回頭) 탑탑고(塔塔高) 타원앙장(打鴛鴦□) 화전태 (花前態) 낙화유수(落花流水) 여의풍(如意風) 비금사(飛金沙) 회파신(廻波身) 과교선(過橋仙) 연귀소(燕歸巢)등 시적(詩的)인 춤사위 용어를 많이 사용하며, 특히 회란(廻鸞)이라는 술어는 마치 새가 두 날개를 펴고 돌아가는것 같이 돈다는 의미로 일반정재와는 다른 용어로 표현하며, 회두(回頭)는 "階袖歌頭側目 "이라 하여 시선에 대한것 까지도 자세히 명시하였고, 화전태(花前態)는 곱게 웃는 미롱(媚弄)으로 명시되며 이 충의 백미(白眉)를 이루는 것으로 궁중정재의 높고 아름다운 교양을 척도하는 장면으로 귀하고 값지게 평가된다. 그러므로 본 논문은 춘앵전을 기초로 한 궁중무용의 춤사위 명칭을 검토해 보는데 촛점을 맞추고자 한다.
궁중정재의 최고 전성기였던 순조 28년에 효명세자가 많은 정재악장(呈才樂章)을 새로 만들어 20여종의 정재가 창제될 패 춘앵전도 등장 했는데 하 지호(河 志浩)의 「중국무도사(中國舞蹈史)」로 미루어 보아 중국에서는 당고종때에, 일본에서는 평안시대 (平安時代)에 춘앵전이 성행되었다.
춘앵전은 향악정재에 속하는데 임진왜란으로 부터 병자호란 까지의 오랜 단절을 거친 후 효종때에 정재의 반주곡으로 향당교주라는 새로운 악곡이 등장하였으며 용악절차(用樂節次)에 있어서 향·당악정재의 구분에 의한 안무가 없어진 정으로 보아 향악정재 당악정재에 대한 개념상의 구분이 사실상 없어지고, 향·당악정재가 혼합된 새로운 양상의 정재로 춘앵전은 만들어줬다
이상에서와 같이 춘앵전은 순조때 우리나라에 행해진 독무로 각종 연안에서 추어져 내려오는 동안 내용 및 형식면에 커다란 변형없이 거의 원형 그대로 전해 내려오고, 궁중정재에 있어 가장 많은 춤사위로 구성되어, 오늘날까지 우리들에게 가장 많이 추어지고 있으며 또한 널리 알려져 있어, 사랑받는 대표적인 궁중정재의 하나이다.목차 = ⅲ
논문개요 = ⅴ
Ⅰ. 서론 = 1
A. 연구의 목적 = 1
B. 연구의 방법 = 1
Ⅱ. 궁중정재에 관한 고찰 = 2
A. 정재의 의의 = 2
B. 정재의 발생동기와 특징 및 종류 = 3
C. 정재의 전승과정 = 5
D. 정재의 보법 = 9
Ⅲ. 춘앵전의 문헌에 의한 연구 = 17
A. 역사적 배경 = 17
B. 춘앵전의 내용 및 형식 = 22
C. 춘앵전의 춤사위 풀이 = 65
D. 춘앵전의 음악 = 68
E. 춘앵전의 복식 = 70
Ⅳ. 결론 = 72
참고문헌 = 74
부록 = 75
ABSTRACT = 7
Figs 35–42. Adults. 35. Scirpophaga magnella. 36. S. tongyaii. 37. S. linguatella. 38. S. adunctella. 39. S. khasis. 40. S. virginia. 41. S. lineata. 42. S in Taxonomic review of the subfamily Schoenobiinae (Lepidoptera: Pyraloidea: Crambidae) from China
No full textFigs 35–42. Adults. 35. Scirpophaga magnella. 36. S. tongyaii. 37. S. linguatella. 38. S. adunctella. 39. S. khasis. 40. S. virginia. 41. S. lineata. 42. S. auristrigella.Published as part of Chen, Fu-Qiang & Wu, Chun-Sheng, 2014, Taxonomic review of the subfamily Schoenobiinae (Lepidoptera: Pyraloidea: Crambidae) from China, pp. 163-208 in Zoological Systematics 39 (2) on page 178, DOI: 10.11865/zs20140201, http://zenodo.org/record/461732
Phoebus 9: Myriad Points of View
No full texttableOfContents: Preface p.9
Collecting Chinese Art p.13
Catalog p.15
The Daoist Symbolism of Immortality in Shen Zhou's Watching the Mid-Autumn Moon at Bamboo Villa by Chun-yi Lee p. 49
Wu Shi'en's Liang Hong and Meng Guang: A Misreading by XiaopIng Lin p.79
From the Profound to the Mundane: Depictions of Lohans in Late Ming China by Janet Baker p. 101
Glimpses of the Duanwu Festival by Fang Xun (1736-1799): Commemorative Painting or Private Souvenir? by Anne Kerlan-Stephens p. 117
Pleasure and Pain by Marion S. Lee p. 143
From Narrative to Transformed Narrative: Visualizations of the Heavenly Maiden and the Maiden Magu by Chen Liu p. 167
Glossary of Chinese Names and Terms p. 18
Intermedial Representations in Asian Macbeth-s
No full textIn her article Intermedial representations in Asian Macbeth-s I-Chun Wang discusses three Asian versions of Macbeths that exemplify the cultural meanings through the interaction of landscape, body, and spectacles of power. Shakespeare remains one of the most popular playwrights in the Eastern world, and playwrights in the Asian world find Shakespearean plays attractive to the Asian audience. Among Shakespearean plays, Macbeth fascinates its Asian audience with its theme on kingship, territory of social relationships as well as moral and emotional development. These adaptations oftentimes become cross-cultural reproductions because each adapted text manifests not only cross-cultural interpretations but also highlights the ways that Shakespeare is read by audiences in other cultures. By probing into the meanings of spectacle and symbolic representations of landscape, I-Chun Wang analyzes how Asian directors, such as Akira Kurosawa, Vishal Bharadwaj, and Xing-guo Wu highlight cultural meanings of power struggle and territory through intermediality
Diffusive author(s), cohesive author: Analysis of S/N (1994)
No full textThis study indicates the ways in which various aspects of the author(s) are brought forth in Dumb type’s performance art, the S/N production. Previous research has suggested a non-hierarchical organization of Dumb type and the absence of a “privileged author” in Dumb type’s collaborative work, S/N. However, the results that I have investigated from member’s interviews on the creative process of S/N along with my analysis of the recorded images of S/N, indicate a different aspect of the author(s). First, S/N was created through, so to speak, the collective ideas of the members of Dumb type. Further, S/N has at least nine quotations from previous performances, installations, and printed writings, besides the work-in-progress technique. Explicating one of the “author functions” as given by Michel Foucault, each text has plural subjects of the author. However, it has been revealed from members’ interviews that Teiji Furuhashi had a decision-making role in selecting the members’ ideas within the performance. Since then, S/N has had plural subjects of creation; however, Furuhashi is one of the subjects of creation along with the “privileged author.” S/N has plural authors (diffusive authors) yet at the same time, it has a “privileged author,” Teiji Furuhashi (cohesive author)
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