Mahadevi Verma Mythili P

Total Page:16

File Type:pdf, Size:1020Kb

Mahadevi Verma Mythili P The 1st Asian Conference on Literature and Librarianship Osaka, Japan, 2011 The Asian Conference on Literature and Librarianship Official Conference Proceedings 2011 For the International Academic Forum & The IAFOR International Advisory Board Professor Don Brash, Former Governor of the the New Professor Michiko Nakano, Waseda University, Tokyo, Zealand Reserve Bank & Former Leader of the National Japan Party, New Zealand Ms Karen Newby, Director, Par les mots solidaires, Lord Charles Bruce of Elgin and Kincardine, Lord Paris, France Lieutenant of Fife, Chairman of the Patrons of the National Galleries of Scotland & Trustee of the Historic Professor Michael Pronko, Meiji Gakuin University, Scotland Foundation, UK Tokyo, Japan Professor Tien-Hui Chiang, National University of Mr Michael Sakemoto, UCLA, USA Tainan, Chinese Taipei Mr Mohamed Salaheen, Country Director, UN World Mr Marcus Chidgey, CEO, Captive Minds Food Programme, Japan & Korea Communications Group, London, UK Mr Lowell Sheppard, Asia Pacific Director, HOPE Professor Steve Cornwell, Osaka Jogakuin University, International Osaka, Japan Professor Ken Kawan Soetanto, Waseda University, Professor Georges Depeyrot, Centre National de la Japan Recherche Scientifique/Ecole Normale Superieure, France His Excellency Dr Drago Stambuk, Croatian Professor Sue Jackson, Pro-Vice Master of Teaching Ambassador to Brazil and Learning, Birkbeck, University of London, UK Professor Mary Stuart, Vice-Chancellor of the Professor Michael Herriman, Nagoya University of University of Lincoln, UK Commerce and Business, Japan Dr Michael O'Sullivan, The Chinese University of Principal Masayasu Kano, Tsukuba International Hong Kong School, Tsukuba, Japan Professor Gary Swanson, University of Northern Dr Melissa Kennedy, NUCB, Japan Colorado, USA Vice-Consul Kathryn Kiser, United States State Dr David Wilkinson, Associate Dean (International), La Department, USA Trobe University, Australia Mrs Eri Kudo, Head Private Sector Fundraising, UN Mr Takayuki Yamada, Chairman, IAFOR Japan, Japan World Food Programme Japan, Tokyo, Japan Professor Kensaku Yoshida, Sophia University, Tokyo, Professor Sing Kong Lee, Director of the National Japan Institute of Education, Singapore Mrs Elly Zaniewicka, BBC Political Programmes, Dr Woon Chia Liu, Associate Dean, Practicum and London, UK School Partnerships, Teacher Education, NIE, Singapore ©The International Academic Forum 2011 The International Academic Forum (IAFOR) Aza Katahira 23-4 801, Ouaza Nagakute Aichi-gun, Aichi-ken, Nagakute-cho 480-1131 Japan ISSN: 2186-2281 http://www.iafor.org/librasia_proceedings.html iafor The Asian Conference on Literature and Librarianship 2011 Official Conference Proceedings 2011 Contents Postcolonial Filipino in Narrative Fiction: Cognitive Character Analysis of F. Sionil Jose’s Viajero Marie Rose Arong pp. 1-10 Modernization of University Libraries: A Comparative Study of University Libraries of Islamabad, Khyber Pukhtoonkhwa and Balochistan, Pakistan. Saeed ullah Jan Rafia A Sheikh pp. 11-55 From Poetess to Mystic – Mahadevi Verma Mythili P. Rao pp. 56-66 Discovering the Fatherland: An Impossible Journey? Enrique Galván-Álvarez pp. 67-83 A Journey of Discovery: the Impossibility of Defining Irishness in John Bull’s Other Island David Yi-ting Liu Yi-ling Yang pp. 84-95 Fictionalized History: Initiating Changes in theMalaysian Identity Sim Chee Cheang pp. 96-106 Values on Individualism and Collectivism between China and the West Li guishan pp. 107-111 The Encounter between Oriental Women and Western Gender - Take Xiaji and Liji for Example Bai Lu He Jiarong pp. 112-119 Feminist Reception of Othello: Desdemona as a Parodic Figure of Imperialist Males in Paula Vogel’s Desdemona: a play about a handkerchief Jane Im pp. 120-126 Which Job Satisfaction is More Important? The Relative Contributions of Intrinsic and Extrinsic Job Satisfaction to Contextual and Task Performance of University Librarians Yu-Ping Peng pp. 127-139 Confession Leading to Holy Power -On The Book of Margery Kempe- Park Eunhyung pp. 140-149 Parables of the East in Western Political Drama Loretta Visomirskis pp. 150-156 “Too long in Foreign Parts”? : Reading Henry James in the Asian University Patricia Louise Haseltine P. 157-169 Reaffirming the Role of School Libraries Andrew J Stark pp. 170-189 Forgetting the Gift in The Lord of the Rings: The Steward of Gondor and His Two Sons Minwoo Yoon pp. 190-198 Discovering the “Others”: Unearthing Homosexual Identity Construction in Selected Indonesia Contemporary Novels and Short Stories Rizki Theodorus Johan pp. 196-206 Comparative Study of Application of the EFQM Excellence Model in Central Libraries of Governmental & Medical Sciences Universities of Tabriz (Iran) Sedigheh Mohamadesmaeil Nayer Ebrahimi Somayeh Ghavidel pp. 207-219 Web Usability Evaluation: An Approach for Evaluating the Usability of National Library Websites in the Persian Gulf Rim Sedigheh Mohamadesmaeil Somaye Kazemi Kohbanani pp. 220-232 India Through Different Lenses: A Study of Rushdie’s Midnight’s Children and Tagore’s The Home and the World Sharmita Lahiri pp. 233-244 An Epochal Step: On Hester Prynne’s Feminist Awareness in Hawthorn’s The Scarlet Letter Chia-hsin Wu pp. 245-254 The Asian Conference on Literature & Librarianship Official Conference Proceedings 2011 LibrAsia 2011, Osaka, Japan Title Postcolonial Filipino in Narrative Fiction: Cognitive Character Analysis of F. Sionil Jose’s Viajero Author Marie Rose Arong - 0009 Affiliations University of the Philippines Cebu College Contact Information Marie Rose Arong Humanities Division University of the Philippines Cebu College Gorordo Avenue, Cebu City Philippines 6000 Email: [email protected] Categories Literature: Literary Criticism and Theory 1 The Asian Conference on Literature & Librarianship Official Conference Proceedings 2011 LibrAsia 2011, Osaka, Japan Title Postcolonial Filipino in Narrative Fiction: Cognitive Character Analysis of F. Sionil Jose’s Viajero Author Marie Rose Arong Affiliations University of the Philippines Cebu College I. The Postcolonial Filipino Situation Narratives exist in nearly every aspect of our society. The influence and power that these narratives can have on people are infamously represented by the persecution and death by firing squad of Jose Rizal, a Filipino martyr who wrote two novels1 which exposed the Spanish faults during the colonial period. Said (1994) observed that nowadays, it is impossible to be “purely one thing,” due largely to imperialism, which has resulted in the “mixture of cultures and identities on a global scale”; however, “its worst and most paradoxical gift was to allow people to believe that they were only, mainly, exclusively, white, or Black, or Western, or Oriental” [Italics added] (p. 336). This idea of being exclusively something plays significantly into the postcolonial binaries undeniably implanted in our minds. Talib (2002) called these postcolonial binaries as the “rigid division of the world into two categories: the West and the East, the North and the South, the developed and the undeveloped, the First and the Third Worlds, the English and the non-English” (p. 18), them and us, them and the other. What makes these labels divisive is that most of the times the exclusivity of being part of the other is connected to the negativity of being part of that other: East, South, undeveloped, Third World, non-English. For nearly four hundred years, Filipinos were made to believe that they were the other: the other of the Spaniards and the Americans. The aftermath of World War II meant formerly colonized nations sought to redefine themselves as peoples through decolonization. Said discusses three main ideas in the decolonizing cultural resistance: (1) the concept of national language; (2) resistance as an alternative way of conceiving human history; and (3) a noticeable pull away from separatist nationalism toward a more integrative view of human community and human liberation (pp. 215-216). Roxas-Tope (1998) wrote that the proponents of nationalism in the Philippines during the 1960s thought that it was necessary to require the writing of Philippine history by a Filipino and from the point of view of the Filipino, but when these works were published “they became textbooks, the repository of historical truths and canonical interpretations of the past” (p. 24); an act that can be considered as walking the fine line of the concept of Grand Narrative that both postcolonial and postmodern schools of thought question. In the same line, Zialcita (2005) questioned the overly nationalistic approach to the (re)writing of history because it highlights only the “Spanish state as the enemy of democrats and nationalists by the late nineteenth century” and leaves out “the Spanish state that brought in symbols, values, and an organization whose unforeseen consequence was an expanded sense of community where notions of democracy and nationalism germinated” (p. 65). Zialcita also observed this need to frame the definition of Filipino identity without the Spanish aspect of the Filipino heritage. According to Zialcita, this act of looking at “only a segment of our heritage” [Italics added] can again be attributed to the nationalistic writing tendencies (pp. 9-10). Thus this postcolonial Filipino is framed with an identity as other; an identity minus the Spanish or American influences; an identity minus segments of his heritage. This paper will analyze how the postcolonial Filipino is represented in the protagonist of F. Sionil Jose’s
Recommended publications
  • Post-War English Literature 1945-1990
    Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards .......................................
    [Show full text]
  • Title <Translated Article> Western Zhou History in the Collective
    <Translated Article> Western Zhou History in the Collective Title Memory of the People of the Western Zhou: An Interpretation of the Inscription of the "Lai pan" Author(s) MATSUI, Yoshinori Citation 東洋史研究 (2008), 66(4): 712-664 Issue Date 2008-03 URL https://doi.org/10.14989/141873 Right Type Journal Article Textversion publisher Kyoto University 712 WESTERN ZHOU HISTORY IN THE COLLECTIVE MEMORY OF THE PEOPLE OF THE WESTERN ZHOU: AN INTERPRETATION OF THE INSCRIPTION OF THE "LAI PAN" MATSUI Y oshinori Introduction On January 19, 2003, twenty-seven bronze pieces were excavated from a hoard at Yangjiacun (Meixian county, Baoji city, Shaanxi province).l All the bronzes, which include twelve ding ~, nine Ii rn, two fanghu 11 if., one pan ~, one he :ii\'t, one yi [ffi, and one yu k, have inscriptions. Among them, the bronzes labeled "Forty-second-year Lai ding" ~ ~ (of which there are two pieces), "Forty-third-year Lai ding" (ten pieces), and "Lai pan" ~~ (one piece) have in­ scriptions that are particularly long for inscriptions from the Western Zhou period and run respectively to 281, 316 and 372 characters in length. The inscription of the "Lai pan," containing 372 characters, is divided into two parts, the first part is narrated from Lai's point of view but employs the third-person voice, opening with the phrase, "Lai said." The second part records an appointment (ceming :IlJt frJ) ceremony that opens, "The King said." The very exceptional first part records the service of generations of Lai's ancestors to successive Zhou Kings. The inscription mentions eleven former kings, King Wen X3:., King Wu TIk3:., King Cheng JIlG3:., King Kang *3:., King Zhao BR3:., King Mu ~~3:., King Gong *3:., King Yi i~3:., King Xiao ~(~)3:., King Yi 1J$(~)3:., King Li Jj1U (J~)3:.
    [Show full text]
  • The Mayhem Poets Resource Guide
    teacher resource guide schooltime performance series the mayhem poets about the who are in the performance the mayhem poets spotlight Poetry may seem like a rarefied art form to those who Scott Raven An Interview with Mayhem Poets How does your professional training and experience associate it with old books and long dead poets, but this is inform your performances? Raven is a poet, writer, performer, teacher and co-founder Tell us more about your company’s history. far from the truth. Today, there are many artists who are Experience has definitely been our most valuable training. of Mayhem Poets. He has a dual degree in acting and What prompted you to bring Mayhem Poets to the stage? creating poems that are propulsive, energetic, and reflective Having toured and performed as The Mayhem Poets since journalism from Rutgers University and is a member of the Mayhem Poets the touring group spun out of a poetry of current events and issues that are driving discourse. The Screen Actors Guild. He has acted in commercials, plays 2004, we’ve pretty much seen it all at this point. Just as with open mic at Rutgers University in the early-2000s called Mayhem Poets are injecting juice, vibe and jaw-dropping and films, and performed for Fiat, Purina, CNN and anything, with experience and success comes confidence, Verbal Mayhem, started by Scott Raven and Kyle Rapps. rhymes into poetry through their creatively staged The Today Show. He has been published in The New York and with confidence comes comfort and the ability to be They teamed up with two other Verbal Mayhem regulars performances.
    [Show full text]
  • The Fragmentation of Imagism It Was 1912, and a New Mode of Poetry Was Taking Root
    The Fragmentation of Imagism It was 1912, and a new mode of poetry was taking root. Sparked by the ideas of T.E. Hulme and from distaste of the drippy sentimentalism of the Romantic era (Britannica “Imagist”), Ezra Pound, Richard Aldington, and H.D. literally wrote the rules of Imagism. Their dry, concise look at an image or “complex,” as Pound described it, helped lay the foundation for modernist poetry. However, the Imagists’ granite rules could not ensure strict adherence to their form, not even from founding members of Imagism themselves. As the years went by, the Imagists themselves grew weary of their own form by both their own admittance and through their later works. Ezra Pound was the first leader of the Imagist movement, and his autocratic grip on the concept of Imagism may be partly to blame for the fragmentation of the movement. Pound makes it quite clear that, “At least for myself, I want [twentieth-century poetry] so, austere, direction, free from emotional slither (“A Retrospect” 23).” He carefully selected and edited poems for published volumes of Imagist poetry, but the appearance of the popular and wealthy poet heiress Amy Lowell swept in a new democratic format for the group’s publications. Authors were to select what they considered their best work, without the stamp of approval from Pound deeming it true to the Imagist credo (Bradshaw 159). Amy Lowell and Ezra Pound clashed quite famously over the direction Imagism would take, as seen in Lowell’s poem to Pound, harshly dubbed “Astigmatism.” The poem pulls no punches; the analogy is clear in Lowell’s image of the Poet smashing lovely flowers of all kinds, saying “They are useless.
    [Show full text]
  • Foreigners and Propaganda War and Peace in the Imperial Images of Augustus and Qin Shi Huangdi
    Foreigners and Propaganda War and Peace in the Imperial Images of Augustus and Qin Shi Huangdi This thesis is presented by Dan Qing Zhao (317884) to the School of Historical and Philosophical Studies in total fulfilment of the requirements for the degree of Master of Arts in the field of Classics in the School of Historical and Philosophical Studies Faculty of Arts University of Melbourne Principal Supervisor: Dr Hyun Jin Kim Secondary Supervisor: Associate Professor Frederik J. Vervaet Submission Date: 20/07/2018 Word Count: 37,371 TABLE OF CONTENTS Acknowledgements i Translations and Transliterations ii Introduction 1 Current Scholarship 2 Methodology 7 Sources 13 Contention 19 Chapter One: Pre-Imperial Attitudes towards Foreigners, Expansion, and Peace in Early China 21 Western Zhou Dynasty and Early Spring and Autumn Period (11th – 6th century BCE) 22 Late Spring and Autumn Period (6th century – 476 BCE) 27 Warring States Period (476 – 221 BCE) 33 Conclusion 38 Chapter Two: Pre-Imperial Attitudes towards Foreigners, Expansion, and Peace in Rome 41 Early Rome (Regal Period to the First Punic War, 753 – 264 BCE) 42 Mid-Republic (First Punic War to the End of the Macedonian Wars, 264 – 148 BCE) 46 Late Republic (End of the Macedonian Wars to the Second Triumvirate, 148 – 43 BCE) 53 Conclusion 60 Chapter Three: Peace through Warfare 63 Qin Shi Huangdi 63 Augustus 69 Conclusion 80 Chapter Four: Morality, Just War, and Universal Consensus 82 Qin Shi Huangdi 82 Augustus 90 Conclusion 104 Chapter Five: Victory and Divine Support 106 Qin Shi Huangdi 108 Augustus 116 Conclusion 130 Conclusion 132 Bibliography 137 ACKNOWLEDGEMENTS I would like to offer my sincerest thanks to Dr Hyun Jin Kim.
    [Show full text]
  • Download File
    On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze Age, ca. 1000-500 B.C.E Minna Wu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMIBIA UNIVERSITY 2013 @2013 Minna Wu All rights reserved ABSTRACT On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze-Age, ca. 1000-500 B.C.E. Minna Wu The Shandong region has been of considerable interest to the study of ancient China due to its location in the eastern periphery of the central culture. For the Western Zhou state, Shandong was the “Far East” and it was a vast region of diverse landscape and complex cultural traditions during the Late Bronze-Age (1000-500 BCE). In this research, the developmental trajectories of three different types of secondary states are examined. The first type is the regional states established by the Zhou court; the second type is the indigenous Non-Zhou states with Dong Yi origins; the third type is the states that may have been formerly Shang polities and accepted Zhou rule after the Zhou conquest of Shang. On the one hand, this dissertation examines the dynamic social and cultural process in the eastern periphery in relation to the expansion and colonization of the Western Zhou state; on the other hand, it emphasizes the agency of the periphery during the formation of secondary states by examining how the polities in the periphery responded to the advances of the Western Zhou state and how local traditions impacted the composition of the local material assemblage which lay the foundation for the future prosperity of the regional culture.
    [Show full text]
  • Gopal Singh Nepali - Poems
    Classic Poetry Series Gopal Singh Nepali - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Gopal Singh Nepali(1911–1963) Gopal Singh Nepali was an eminent poet of Hindi literature and a famous lyricist of Bollywood. His association with Bollywood spanned around two decades, beginning in 1944 and ended with his death in 1963. He was a poet of post- Chhayavaad period, and he wrote several collections of Hindi poems including "Umang" (published in 1933). He was also a journalist and edited at least four Hindi magazines, namely, Ratlam Times, Chitrapat, Sudha, and Yogi. He was born in Bettiah in the state of Bihar. In fact, he was not a Nepali but has taken this as a part of his literary name. During Sino-Indian War of 1962, he wrote many patriotic songs and poems which include Savan, Kalpana, Neelima, Naveen Kalpana Karo,etc. www.PoemHunter.com - The World's Poetry Archive 1 Apnepan Ka Matvala Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 2 Badnam Rahe Batmar Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 3 Basanta Git Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 4 Chowpatty Ka Suryasta Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 5 Dipak Jalta Rahe Ratbhar Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 6 Do Pran Mile Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 7 Dur Jakar Na Koi Bisara Kare Gopal Singh Nepali www.PoemHunter.com - The World's Poetry Archive 8 Garib Ka Salam
    [Show full text]
  • SURREALISM IS a THING RUBRICS and OBJECTIVATION in the SURREALIST PERIODICAL, 1924–2015 Catherine Hansen
    ARTICLE Downloaded from http://direct.mit.edu/artm/article-pdf/5/3/62/1832938/artm_a_00158.pdf by guest on 28 September 2021 SURREALISM IS A THING RUBRICS AND OBJECTIVATION IN THE SURREALIST PERIODICAL, 1924–2015 Catherine hansen What Will Be is the title of a 2014 anthology compiled by members of a 21st-century international network of Surrealist groups, announcing the continuing ambitions of a movement that fi rst began amid the sleeping fi ts and Dada-inspired provocations of the early 1920s. The anthology includes a special feature on the publishing activities of the various groups, which frequently coordinate their efforts across group and national boundaries—operating as a kind of dispersed organism whose vital functions have never seen fi t to cease, even as Surrealism has come to be considered a historical and concluded phenomenon. There is particular emphasis on the Surrealist attitude, in general, toward publishing, publicization, circulation, the digital revolution, and the rise of on-demand printing. Contributors, for example, speak- ing on behalf of the Montreal- and Miami-based Surrealist publisher Editions Sonámbula, state: “any attempt aiming to expand the fi eld of the real and of the poetic has necessarily to refl ect on the means of communication to use.”1 Surrealism has always claimed to extend the domain of what is 1 “The Utility of Surrealist Editions and of the Surrealist Gallery: An Inquiry,” in Ce qui sera/What Will Be/Lo que serà: Almanac of the International Surrealist Movement, “hors- série” number of Brumes Blondes, ed. Her de Vries and Laurens Vancrevel (Amsterdam: Brumes Blondes, 2014), 438–39.
    [Show full text]
  • UNIT 1 - Women’S Writing – SHS5012
    SCHOOL OF SCIENCE AND HUMANITIES DEPARTMENT OF ENGLISH UNIT 1 - Women’s Writing – SHS5012 0 1. Juliet Mitchell, “Femininity, Narrative and Psychoanalysis” In Juliet Mitchell’s essay, “Femininity, Narrative and Psychoanalysis,” Mitchell examines the role that the novel has played in our capitalist society for women and the influence of psychoanalytic motives for writing the novel to prove that the novel was, and perhaps still is, the defining element of women in our society. Mitchell’s essay addresses more than a single topic. All of her topics are link together, though, as Mitchell places each topic as a constraint around the identity of the women in society. In terms of language, the woman is constrained because language is a masculine language. In a capitalist society, the woman is constrained by the bourgeois roles expected of women. And finally, and perhaps most importantly, from a psychoanalytic perspective, the woman is constrained by the resulting masculine or not-masculine society derived from pre-Oedipal childhood (I think). The combination of these constraints ways down upon the women and results in a feminist movement that simultaneously rejects masculine society, while adhering to its rules. The novel is, in Mitchell’s words, “the prime example of the way women start to create themselves as social subjects under bourgeois capitalism.” After finishing Mitchell’s essay, I couldn’t tell if she was opposed to the novel, which I think is an important point to clarify, as Mitchell herself asserts the novel as the defining element for women in a capitalist society. Perhaps she is in favor of novels that are critical, such as a main subject her essay, Wuthering Heights, and not for conformist novels, such as those by Mills and Boon.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Song Dynasty Gate Structure and Its Typology Reflected in the Paintings of Chinese Artists of 10th– 13th Centuries* Marianna Shevchenko Moscow Institute of Architecture (State Academy) Scientific Research Institute of Theory and History of Architecture and Urban Planning Moscow, Russia E-mail: [email protected] Abstract—In Chinese architecture, gate structures have ranking system for government officials in Imperial China, always served as an indicator of the status of the owner and the different requirements to the forms of the gate structures of rank of the entire complex. Unfortunately, since the time of the their residences have emerged. According to the rank system Song Dynasty very few gates have been preserved up to the of the Tang dynasty (618-907 A.D.), government officials of present day, and mostly they belong to the monastery gates. rank three or higher were allowed to build a three-bay gate However, Song dynasty paintings and frescoes show a well- structures covered with two-slope roofs of xuanshan (悬山) developed typology of the gates and diversity in form. Besides type [3]. A special room for the gatekeepers could be different constructive and decorative elements, used in the arranged behind the gates of particularly large residences. Song dynasty gates structures are presented in detail in Song One family could have several high rank court officials. In paintings. The analysis of the depiction of the entrance this case behind the residence’s main gates the additional buildings on the scrolls and the frescoes of the 10 th –13th centuries allows us to expand existing understanding about the gates with a name of the official and his insignia were placed.
    [Show full text]
  • Lecture Notes, by James Cahill
    Lecture Notes, by James Cahill Note: The image numbers in these lecture notes do not exactly coincide with the images onscreen but are meant to be reference points in the lectures’ progression. Lecture 9B: Political and Poetic Themes in Southern Song Painting As we move into a period from which more reliable work survives, we can begin to address big concerns such as political themes in court painting, and poetic painting. The latter, poetic painting, means different things to different people; I myself gave a series of lectures that turned into a book titled The Lyric Journey: Poetic Painting in China and Japan (Harvard University Press, 1996). As I acknowledge in that book, there are a number of ways one can define poetic painting in China; I certainly donʹt claim that mine is the only right one, or even that itʹs the best way. In a broad sense, a lot of Southern Song Academy and academy‐style painting can be called poetic, either because it was done in response to couplets and quatrains of poetry presented to the artists by the emperor or others in the court, or simply because they knew that their imperial patrons preferred paintings that could be called poetic. I will develop that theme more as we move further into Southern Song painting; but I want to keep it always problematic, not a quality that one can define clearly or identify easily in paintings. Political Themes and Dynastic Restoration 9.13.1: The Virtuous Brothers Po‐I and Shu‐chʹi in the Wilderness Picking Herbs, early copy after Li Tang, handscroll, Palace Museum, Beijing.
    [Show full text]
  • Spring and Autumn China (771-453)
    Indiana University, History G380 – class text readings – Spring 2010 – R. Eno 1.7 SPRING AND AUTUMN CHINA (771-453) The history of the Spring and Autumn period was traditionally pictured as a narrative in which the major actors were states, their rulers, and certain high ministers and colorful figures. The narrative generally was shaped by writers to convey ethical points. It was, on the largest scale, a “true” story, but its drama was guided by a moral rationale. In these pages, we will survey the events of this long period. Our narrative will combine a selective recounting of major events with an attempt to illustrate the political variety that developed among the patrician states of the time. It embeds also certain stories from traditional sources, which are intended to help you picture more vividly and so recall more easily major turning points. These tales (which appear in italics) are retold here in a way that eliminates the profusion of personal and place names that characterize the original accounts. There are four such stories and each focuses on a single individual (although the last and longest has a larger cast of characters). The first two stories, those of Duke Huan of Qi and Duke Wen of Jin, highlight certain central features of Spring and Autumn political structures. The third tale, concerning King Ling of Chu, illustrates the nature of many early historical accounts as cautionary tales. The last, the story of Wu Zixu, is one of the great “historical romances” of the traditional annals. It is important to bear in mind that the tales recounted here are parts of a “master narrative” of early China, crafted by literary historians.
    [Show full text]