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Gotowe bibliografie tematyczne / Chosŏn munhak

Gotowa bibliografia na temat „Chosŏn munhak”

Autor: Grafiati

Data publikacji: 25 lipca 2024

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Artykuły w czasopismach na temat "Chosŏn munhak"

1

Lee, Ji-Eun. "Literacy, Sosŏl, and Women in Book Culture in Late Chosŏn Korea". East Asian Publishing and Society 4, nr 1 (6.02.2014): 36–64. http://dx.doi.org/10.1163/22106286-12341255.

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Abstract In an effort to better understand the rise of discourse on women vis-à-vis the impact of the modern, this paper discusses issues of gender in the context of pre-twentieth-century reading practices in Korea. The usual trajectory of scholarship on pre-twentieth-century book culture first associates women with indigenous script (han’gŭl), then links them with the literary genre of the novel, and thus defines women as the main reader group for novels written in han’gŭl. However, low literacy rates and socio-cultural factors surrounding Chosŏn women challenge rather than support this association. Existing scholarship also does not provide a convincing picture of the changes in reading practices and the roles of women as readers and writers in the transition from pre-modern to modern Korea. In examining how reading materials circulated and re-assessing claims that novels in han’gŭl constituted a women’s genre, this article calls for a more sensitive, critical and nuanced understanding of gender categories as they are deployed in literary scholarship. Indeed, it sees the juncture of ‘women’, mun / munhak, and the role of women in Korean literature as a site for re-evaluating the intricate mechanics of gender relations in Korea.

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2

Chun, Jumi. "An Analysis of Changes and Works of Gayageum Byeonchang in North Korea by Period: With Focus on Joseon Munhak Yesul Nyeongam". Korean Society of Culture and Convergence 44, nr 6 (30.06.2022): 967–1000. http://dx.doi.org/10.33645/cnc.2022.6.44.6.967.

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The purpose of this study is to examine the characteristics of the performance activities of the Gayageum Byeongchang in North Korea from the late 1990s to the present. The information is based on the Joseon Munhak Yesul Nyeongam (The Chosun Literature Art Yearbook), a series of publications that record the whole of activities and achievements of the arts in North Korea. As a result of the study, it is possible to examine the commonalities and differences in performance activities by broadly dividing them into performance classes, events, and themes. As for the performing class, it can be divided into professional art groups and smaller local art groups. Although the professional groups are represented by the likes such as the North Korean People’s Army Orchestra, and the local groups by students and female organizations, the frequency of the activities was found to be equal to each other. The events performed by both professional and local art groups were divided into a mixture of Gayageum Byeongchang, Gayageum Dok Byeongchang, and Gayageum Byeongchang, with Gayageum Byeongchang activities being the largest among them. In particular, the rampant use of electronic music was drastically reduced during this period while the use of ethnic instruments was encouraged in professional art organizations. As a result, the activities of Gayageum Byeongchang, which had been actively using electronic instruments since the 1980s, decreased significantly. The songs that are performed are also different between professional art organizations and local art groups. In sharing common themes of ideological liberal arts teachings and mass propaganda, the performances of local art groups also vary in theme related to each social class within the art groups. Through this study, it can be seen that North Korea’s Gayageum Byeongchang has changed from professional-oriented performances to developing and expanding into smaller local art groups and activities, thereby gaining popularity and universality.

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3

ÖZCAN, Onur. "A PICTORIAL TRANSLATION INTERPRETATION: THE OIL PAINTINGS OF MUKREMIN MUNGAN". SOCIAL SCIENCE DEVELOPMENT JOURNAL, 15.03.2022, 13–21. http://dx.doi.org/10.31567/ssd.583.

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Artworks begin to communicate with society from the moment they are created and released to the market. In this communication, works of art often acquire a similar or sometimes different meaning according to the interpretation of the person or persons. In the same way, the paintings communicate with everyone who is interested in them since they come out of the brushes of their painters. The artistic, emotional and aesthetic features of the paintings are pictorially located on a canvas. As an intermediary message in achieving these features, there is the name of the painting, which is written in a short and concise way, under or on the back of the painting, next to the signature of the artist or on the promotional label in an exhibition. These names are sometimes translated into other languages for exhibitions or print editions. Here, it is important to transfer both a pictorial and written expression to another language. In order to examine this situation, which constitutes the starting point of this study, the book of Mükremin Mungan, which is written in Turkish-French-English and contains many works, was chosen. It is aimed to make a pictorial translation interpretation of the Turkish names of the oil painting works in the book into French and English. Thus, it is also intended to present a different perspective on the translation process of painters or translators that oscillates between painting and writing.

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4

"“Impact of Emotional Intelligence on Emotional Maturity of Employees at Resin Manufacturing Organizations”". International Journal of Innovative Technology and Exploring Engineering 9, nr 1 (10.11.2019): 1572–75. http://dx.doi.org/10.35940/ijitee.a4537.119119.

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The present study investigated the Emotional Intelligence Impact on Emotional Maturity of Employees in the Manufacturing Industry. 100 employees from the Manufacturing Industry from Munbai and Navi Mumbai area were chosen for the present study. Simple Random Sampling Technique was used to select the samples for the study. The findings of the study reported that there is positive Association among Emotional Intelligence and Emotional Maturity of Employee in manufacturing organizations. The Employees who are emotionally mature show high level of self-confidence while Employees who are Emotionally Immature show low level of self-confidence. There are three psychological dimension related to Emotional Intelligence which include Emotional Competency, Emotional Sensitivity as well as Emotional Maturity. All these three factors guide a person in handling the complex dynamics of human behaviour in a better way. For the present study an extensive well designed questionnaire was used to collect the primary data from the manufacturing industry employees. Also various HR departments from the same manufacturing industries were approached in order to collect the secondary data.

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Książki na temat "Chosŏn munhak"

1

Chŏng, Hong-gyo. Chosŏn munhak kaegwan. Wyd. 8. [P'yŏngyang]: Sahoe Kwahak Ch'ulp'ansa, 2010.

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Chŏng, Hong-gyo. Chosŏn munhak kaegwan. Sŏul-si: Hanʾguk Munhwasa, 1995.

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Chosŏn Minjujuŭi Inmin Konghwaguk Kwahagwŏn. Ŏnŏ Munhak Yŏnʼguso. Munhak Yŏnʼgusil., red. Chosŏn munhak tʻongsa. Wyd. 8. Sŏul-si: Hwada, 1989.

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4

Chong-wŏn, Pak, Yu, Man (Korean literature researcher) i Chʻa Yŏng-ae, red. Chosŏn munhak kaegwan. [Pʻyŏngyang]: Sahoe Kwahak Chʻulpʻansa, 1986.

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Yun, Se-p'yŏng. Haebang chŏn Chosŏn munhak. Chŏnbuk Chŏnju-si: Sina Ch'ulp'ansa, 2018.

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6

Chŏng, Ok-cha. Chosŏn hugi munhak sasangsa. Sŏul: Sŏul Taehakkyo Chʻulpʻanbu, 1990.

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7

Han, Kuk-sŏn. Chosŏn kojŏn munhak yŏndaepʻyo. Sŏul-si: Pogosa, 1994.

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8

Pak, Hyŏn-gyun. Chosŏn kojŏn munhak yŏnʼgu. [Pʻyŏngyang]: Munhak Yesul Chonghap Chʻulpʻansa, 1993.

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9

Haebang chŏn Chosŏn munhak. Sŏul-si: Hanʾguk Munhwasa, 1998.

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10

Hŏ, Tong-jin. Chosŏn ŏnŏ munhak nonmunjip. Wyd. 8. [Yŏn'gil-si]: Yŏnbyŏn Inmin Ch'ulp'ansa, 1988.

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Więcej źródeł

Części książek na temat "Chosŏn munhak"

1

Lee, Jae-Yon. "The Everyday Critic's Unknown Language in Chosŏn Mundan". W Formation of Periodical Authorship in 1920s Korea, 158–92. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003344551-5.

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Streszczenia konferencji na temat "Chosŏn munhak"

1

Cornuelle, Bruce D. "Ocean acoustic tomography". W Signal Recovery and Synthesis. Washington, D.C.: Optica Publishing Group, 1998. http://dx.doi.org/10.1364/srs.1998.stha.3.

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Ocean acoustic tomography (OAT) is a method proposed by Munk and Wunsch (1979) to observe the ocean using acoustic transmissions. Although the ocean is nearly opaque to most electromagnetic radiation, acoustic waves propagate well, and low frequencies (less than 100 Hz) can propagate usefully for more than 10 megameters (Munk, Worcester, and Wunsch, 1995). The term "tomography" was chosen to highlight the analogy to medical computed axial tomography (CAT), although because ocean instrumentation and access are expensive, the number of data available in OAT has been far smaller than in medical applications. For this reason, the reconstruction of the unknown field depends critically on utilizing all information, including prior guesses of first and second moment statistics of the data and unknowns and, in some cases, dynamical models of the ocean.

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