• Cross-Cultural Studies
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• v.22
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• pp.223-277
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• 2011

Tan Yuanjie(譚元杰) of CHINA COSTUME ART OF PEKING OPERA("中國京劇服裝圖譜") is 'Foreword' attention from the bar 'Formalism'. A note is makeup system from ever performances here, 'what kind of adaptation must be a corresponding type of costume should be worn.' This stance to 'type of person's identity and faced the scene correlated' with the actual performance tradition plays out is going and, while here the rules to capture the opera's on the character of 'identity and the circumstances under clothing' is defined. This position discussed previously 'Formalism' in line with the will he perform, and looks to meet the elements of production. This basic stance is clean up, while 'Old Beijing Opera costumes costumes taxonomy largely' literary costume' and 'militant outfit' into two groups divided over throughout steamroll surgery, because surely need to have a more systematic classification. The classification system was established as 'Part 1. Mang, Part 2. Pi, Part 3. Xi, Part 4. Kao, Part 5. YI'. In addition to these classification systems, as well as the aforementioned 'object theory' Given the symbolic significance of the capacity to keep in mind is necessary. Costumes conduct, character, situation, atmosphere and so the transport of charged symbols here, a target symbol of the system is the projection of water. This costume is detrimental to the mall for the positionsay, but I kept in mind damwongeolyi internationalization of Chinese culture. when you see the view from the perspective of semiotic systems for the sign, that the theater is necessary to complement. In this paper, 'Yi(衣)' costume on the corresponding point of the target compared to the China Culture Department of Theatre and Folklore methodology ran off and sprinting was to lay the groundwork for research.

• English & American cultural studies
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• v.18 no.2
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• pp.27-50
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• 2018

Old age is often compared as climbing mountains which requires walking out of breath, yet with wider vision. And it is also likened to the estuary where the river flows slowly and broadly into the open sea. Socially, old age has been regarded as a symbol of wisdom and reflection, and elderly people often take the role of sage who leads the community. On the other hand, the dementia, gray hair and wrinkles of old age were sometimes perceived as the decline of intellect and vitality. Especially, in the digital age in which technology makes people more sensitive to physical artificiality, the evaluation of the old age becomes more complex and obscure. In other words, some elderly people can not escape from Confucious convention of the elders first, which causes the denouncement by younger generations. On the other hand, some elderly people are becoming more adaptable to the trend of young people, emerging as the new elderly people. The anti-aging movement, early adaptation of IT, bioengineering regimen also strong for the advanced age. However, as the new elderly people are active in many fields of society, they also face intergenerational conflicts in some areas where remains the overlap between young people and them due to the limited openings in economy and culture. This study is a transdisciplinary research which can be called old age humanities. First of all, this paper looks at the aspects of lifestyles and intergeneration conflicts in old age in four Korean and Western literary works about the old people, and also searches how to improve the quality of the later life of old people, Overall, this paper aims to explore the way the old people can achieve the full life with the help of intergenerational dependency through building aging humanities and new communities for old people.

• Journal of English Language & Literature
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• v.55 no.4
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• pp.567-596
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• 2009

A staple of feminist literary anthologies which was instrumental in reevaluating the writer Susan Glaspell, Trifles(1916) has received numerous comments from feminist scholars so far. Most of them tend to concentrate on the themes of female solidarity and justice challenging the androcentric system of law and order. Lacking in the plethora of thematic approaches to the play's feminist subject, however, are formal analyses considering the way in which the play's generic form assists in communicating such thematic concerns of feminism. An alternative to the typical scenario at the courtroom whose mistreatment of women must have loomed large to the young Glaspell as she revisited the old trial of a midwestern murderess which she had covered as a journalist for a local newspaper in Iowa, Trifles serves as a corrective to the courtroom dynamics offering a 'dramatic justice' as opposed to a strictly legal procedure. What this article discovers at the heart of this dramatic justice is the celebration of the unsayable, or what Wolfgang Iser termed negativity, of women's experience which has no room for reflection in the legal discourse at the courtroom tyrannized by the sayable and the evident. Examining how the dramatic form of Trifles gives a voice to the unsayable of woman's experience, which can not be properly represented at the courtroom governed by the straightforward and definitive male rhetoric, the article argues that the play is a better form than its fictional adaptation "A Jury of Her Peers"(1917) in that it syntactically suppresses the monopolizing operation of the verbal by giving precedence to the scenic and non-verbal which is constituted of setting, props, gesture and eye contacts. As a theoretical frame of reference with which to examine the modes of the unsayable in the play the article brings the concept of 'negativity,' defined by Iser as textual effects or modes of the unspeakable and unsaid, into the discussion of the taciturnity of the absent heroine and the non-verbal representation of drama.