• The Journal of Art Theory & Practice
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• no.8
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• pp.33-58
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• 2009

This paper examines four genre paintings on the subject of child education by Jean-Baptiste-Sim${\'{e}}$on Chardin(1699-1779). The Governess, The Diligent Mother, Saying Grace, and The Morning Toilette garnered critical attention after they were exhibited in the Salon from 1739 to 1741. After the exhibition, the paintings were made into prints and frequently sold to members of the bourgeois class in Paris. The iconographical details of Chardin's genre paintings have, thus far, been compared to Dutch genre pictures of the seventeenth century. Further, most studies conducted on Chardin's paintings focus on formal analysis rather than the historical and social contexts. Through attempting social-contextual readings of Chardin's educational series, this paper argues that the significance of Chardin's painting series of child education lies in his representation of the ideal French bourgeois family and the standard of early childhood education in the eighteenth-century French Enlightenment period. In each of the four child education paintings, Chardin depicted a mother with children in a domestic space. Even though this theme derives from traditional Dutch genre paintings in the seventeenth century, the visual motifs, the pictorial atmosphere and the painting techniques of Chardin all project the social culture of eighteenth century France. Each painting in the child education series exemplifies respectively the attire of a French gentlemen, the social view on womanhood and the education of girls, newly established table manners, and the dressing up culture in a 'toilette' in eighteenth century France. Distinct from other educational scenes in previous genre paintings, Chardin accentuated the naive and innocent characteristics of a child and exemplified the mother's warmth toward that child in her tender facial expressions and gesturing. These kinds of expressions illustrate the newly structured standard of education in the French Enlightenment period. Whereas medieval people viewed children as immature and useless, people in the eighteenth century began to recognize children for their more positive features. They compared children to a blank piece of paper (tabula rasa), which signified children's innocence, and suggested that children possess neither good nor bad virtues. This positive perspective on children slowly transformed the pedagogical methods. Teaching manuals instructed governesses and mothers to respect each child's personality rather than be strict and harsh to them. Children were also allotted more playtimes, which explains the display of various toys in the backgrounds of Chardin's series of four paintings. Concurrently, the interior, where this exemplary education was executed, alludes to the virtue of the bourgeois's moderate and thrifty daily life in eighteenth century France. While other contemporary painters preferred to depict the extravagant living space of a French bourgeoisie, Chardin portrayed a rather modest and cozy home interior. In contrast to the highly decorated living space of aristocrats, he presented the realistic, humble domestic space of a bourgeois, filled with modern household objects. In addition, the mother is exceptionally clad in working clothes instead of fashionable dresses of the moment. Fit to take care of household affairs and children, the mother represents the ideal virtues of a bourgeois family. It can be concluded that the four genre paintings of child education by Chardin articulate the new standards of juvenile education in eighteenth century France as well as the highly recognized social virtues between French bourgeois families. Thus, Chardin's series of child education would have functioned as a demonstration of the ideal living standards of the bourgeois class and their emphasis on early childhood education in the French Enlightenment period.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.327-355
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• 2016

This study aims to identify petit bourgeois desires through the characters in "Oksosun Stories" from Cheonyerok, an eighteenth-century Yadam anthology. The desires and motivations of the characters are quite secular and egocentric. Because of this, their shared characteristics are similar to those of the petit bourgeois, as neutral existence begins to emerge during the transition from feudal to modern society. The concept of petit bourgeois generally means the public and the working class of modern society. The main character's behavior in the story differs little from general petit bourgeois attitudes. An important belief in petit bourgeois is not the ruling ideology in society but the achievement and stability of realistic and ordinary desires to fulfill their lives' satisfaction. Also selfish or antisocial attitudes and boundary characteristics appear in the process, depending on whether subject having any desire. However, the character's actions are limited in the governance system of a huge reality. And It is characterized by end goal being to meet their upward mobility and stability. This corresponds with Seang's (書生) actions of turning his back on his family and country as well as promising Jaran his love; and, he redeems himself with his family and society by acquiring stability after he passed the state examination. Furthermore, the contemporary significance of this work demonstrates Seang (書生) discovering his desires for human love; therefore, in order to affirm and gratify this desire, he endures the societal state of semi-feudalism against filial duty (不孝), disloyalty (不忠), and non-chastity (不烈), and he acts independently. In addition, on the strength of his pursuit of his desires, Oksosun frees herself from the caste restraint called gisaeng (妓生) and affirms her desire to become a subject of love, but she then deviates from the social system. Moreover, the limitations and achievements of the petit bourgeois are indicated in the actions of recognizing the social threshold of their past in the process, making independent efforts using their capabilities, fulfilling success in the state examination with their intellectual capacity, and re-entering society. From the late Chosun Dynasty to modern times, there is not only the type of contemporary people who hunger for fulfillment of their personal desire and live in free will, but there is also the feudal type that is still lacking in the understanding of independent life. This is not as different as in these present times. This literature asserts the meaning of awakening one's self-existence and assigning great value to the fulfillment of self-desires against the odds that are created by socio-political, cultural, economic norms of the era. "Oksosun Story" affirms the small efforts and successes of private individuals in reality. It also validates the search for life happiness through positivity. In this sense, even the contemporary reader would derive valid meaningfulness from this literature.

• Journal of Korean Theatre Studies Association
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• no.49
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• pp.49-71
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• 2013

Melodrama emerged as a form of the moral in the early modern age. As an approach 'the moral' not only means that rewarding virtue and punishing vice, but also refer to a principle of spiritual life and a way of life. -Melodrama theatricalizes a new vision of human life and society through a new type of the virtuous protagonist and sentiment/-ality. -This allows melodrama to be a dominant cultural form in this modern age, beyond the borders of the theater, mass-media, and literature. Virtue and sentiment/-ality are the core elements of melodrama, which differentiate it from tragedy and comedy especially in the structure and effect of the drama. Actually virtue and sentiment/-ality have been a main target of criticism. Virtue has been regarded as a trite quality of the stereotypical protagonist, and sentiment/-ality as a banal emotion which paralyzes an audience's recognition of reality. -However, this thesis regards both virtue and sentiment/-ality as vehicles for showing and sharing the morals of the modern age. First, the virtues of the protagonist included the general and universal ones of the bourgeois -at that times, the bourgeois represented themselves as a human being- such as the responsibility and obedience of a father, a mother, a wife, a husband, a daughter and a son. They also included the professional ethics such as courage, honesty, and justice and so on. The fall or salvation of the protagonist is largely determined by his/her private individual virtue. Second, sentiment/ality is a theatrical device that makes the audience internalize the protagonist's virtue. The protagonist expresses his/her universal virtue sentimentally, and the audience also expresses their virtue by sympathizing with the protagonist's virtue sentimentally. However, the melodramatic protagonist as an individual, is not connected with society, but remains isolated. As a result, s/he has no influence on the society, where s/he can only ends her/his play alone with a happy-ending. S/he is happy alone, or at best happy with his/her own family. On the contrary to this, tragic protagonist usually fixes social disorder through his/her fall. In that sense, we can say that melodrama presents only the half of the human life.

• Journal of English Language & Literature
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• v.54 no.2
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• pp.169-188
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• 2008

Michael Hardt and Antonio Negri find in women's caring/domestic labor a potential for producing affects, relationships, and forms of communication and cooperation in the family and in the community. Caring/domestic labor in their view is biopolitical in that it directly produces social relationship and forms of life. In this way, they contributed in deconstructing the fixed idea that women's caring/domestic labors are confined to the private domain rather than public one. The literary representations of women's caring/ domestic labor, however, have tended to emphasize its repetitive and confining attributes to private domains and the accompanying physical and mental alienation. Doris Lessing's "To Room Nineteen" and James Joyce's "Eveline" are the examples. "To Room Nineteen," an indirect manifestation of Doris Lessing's position as a Communist, criticizes the sexual distinction of domestic labor under Capitalistic ethic and describes the possible extinction of women's subjects who internalize the capitalistic ideology of bourgeois middle class nuclear family. "Eveline," the fourth work of Joyce's Dubliners, is another example to show the negative result of internalization of Catholic orthodox in which women are obligated to care and sacrifice specially through domestic and caring labor.

• Journal of Information Science Theory and Practice
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• v.12 no.2
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• pp.36-48
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• 2024

For consumers making health decisions, Wikipedia is a popular source for health information. This study investigated major factors influencing consumer satisfaction with Wikipedia medical/health articles. Using a crowdsourcing method, data were collected from 322 adults who read/edit English Wikipedia medical/health articles and reside in the US. The results showed that the presentation of information was the most influential factor. Trustworthiness was the second most important factor for consumer satisfaction with the quality of information, followed by reliability, and topic coverage. Study participants did not consider other factors such as accuracy and currency to be crucial factors. Moderating effects of the control variables such as editing experience with Wikipedia articles, gender, and age were also examined to enhance the internal validity of the study. Implications for the Wikipedia editor community and researchers, and directions of future research are presented.

• Cross-Cultural Studies
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• v.40
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• pp.41-60
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• 2015

This article aims at exploring the convergence and sharing of cultural tastes among Northeast Asian countries by analyzing TV drama "Boys over flower", based on the original Japanese manga and produced in Korea, China, Japan and Taiwan in the $21^{st}$ century. It explores the expectation and desire of the mass who have taken pleasure in watching it in each country as well. This article argues that the sharing of the sensitivities and tastes of young women, the main consumer of the drama, by the mass of the four countries, are an important cultural phenomenon in that it reveals the emergence of "girl" as an active cultural consumer, who had been the object of a restraint and strict protection of the bourgeois family structure.

• Cross-Cultural Studies
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• v.45
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• pp.349-380
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• 2016

In this article we tried to discover the predilection of the Goncourt brothers for the noble culture of the eighteenth century. It is well known that two brothers sought to bring forth the aristocratic world formerly reigned by Louis XV and Louis XVI. The favorite themes of the Goncourts included rococo, rocaille, Kings' mistresses, and antiques. Were the brothers fascinated by the culture of the eighteenth century only because they were themselves in the lineage of an aristocratic family? Are there any other reasons behind their predilection for the eighteenth century? This research started from these questions, because we believe that, in their preoccupation with such culture, there must be other reasons beyond their aesthetic predilection. We first studied ideological grounds to answer these questions. Our attention was particularly drawn to the relationship between their attachment to aristocratic culture and their rejection of bourgeois culture in their time. We then attempted to discern the meaning of their studies on the French Revolution, in the wake of the revolution of 1848. By means of this approach, we found that they overestimated the vibrant and energetic culture of the eighteenth century, and they wanted to propose such culture to their contemporaries, in an effort to forget the terrible memory of the year 1848. We can therefore say that the Goncourt brothers proposed a remedy for the psychological torment of their time.

• (The) Research of the performance art and culture
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• no.38
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• pp.143-191
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• 2019

This research argues that Pansori had patrons in its development. Patrons are commonly discussed aspect of history of any art form. Pansori is no exception. While Pansori originally began as the art of the common people, Yangban class became the primary audience. This paper examines the role of royal family of Choson dynasty in development of Pansori. Heungseon Daewongun (흥선대원군) in particular was a Pansori aficionado. The record around Daewongun's involvement to Pansori proves that heavy monetary investment was made. He hosted Pansori competitions and sponsored creation of Pansori tradition, Boseong Sori (보성소리) and Gangsanje (강산제). Also the aspect of Pansori patronage lies not just in Yangban class, but also in Jung'in class, which is roughly analoguous to European bourgeois in that they were not of Yangban class, but had gained monetary status, and had aesthetics of both Yangban and commoner class. I argue that Heungseon Daewongun's ties to the Jung'in class is reflected in his actions towards Pansori artists. The traditions he had sponsored have important characteristics, including sophisticated lyrics heavily utilizing Classical Chinese poetry, highly artistic musical composition, and conservative Confucian ethics. Those characteristics indicate that the Pansori traditions sponsored by the royal patrons have changed to cater to their artistic taste and philosophy. This paper conducts a textual comparative analysis between Gangsanje Pansori Jeokbyeokga (강산제 판소리 적벽가), Dongpyeonje's Pansori Jeokbyeokga (동편제 판소리 적벽가), and Seopyeonje Pansori Jeokbyeokga, who share the same plot yet offers a stark differences in tone, philosophy, and sense of humor. Daewongun was a primary sponsor of Pansori, which proves that Yangban class and the royal family have played important role as patrons of Pansori.