Pub Date : 2021-10-12DOI: 10.11648/J.IJLA.20210905.14
Ling Gong, Jin Zhang
Tujia Love songs, as a means of expressing love, are one of the important parts of the folk songs in Enshi, Hubei Province. The love songs are the exposure of Tujia’s history, life, beliefs and values, as well as the reflection of their specific needs, national psychology, national survival relationship and life concept. It reflects the national emotion and personality characteristics. The research on it is of great value for the development of national culture and intercultural communication. This article focuses on the translation and interpretation of two representative love songs, “Adieu: A Tujia Love Duet” and “Visiting Sweetheart Solo” to interpret the typical artistic characteristics and cultural images and promote communication and understanding across cultures. By using case-studying method, these two love songs are used as models to dig out the characteristics of Tujia love tradition and Tujia love songs in common. While in translating these songs, cultural images, metaphors, terms of addresses and lining words are the most important parts which need to be closely studied, lingered on and treated with. Thus the artistic conception, dialect characteristics and cultural context can be disclosed through the process of translation, with the goal of readability and reader acceptability being realized as well as the combination of information and cultural atmosphere being reconstructed. In a word, the unique language artistic characteristics by using lining words is the result of dialect characteristics; rich and diverse rhetorical devices are the common means to make folk songs more vivid, humorous and interesting; different performance methods are adopted to perform diverse and wonderful folk songs; while the culture images and the terms of address have made rich cultural connotation. The love songs are the window of displaying the beautiful soul of Tujia people and also the accumulation of Tujia history and culture. Their pursuit of free love “with songs as the match-maker” is in line with the contemporary concept of freedom in marriage and love.
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Pub Date : 2021-09-30DOI: 10.11648/J.IJLA.20210905.12
Grace Danquah
This paper explores traces of African rooted feminisms in Evelyne Accad’s Wounding Words. Accad’s work explores the definition and boundaries of Lebanese/Arabic feminism. Accad’s Wounding Words is critically examined to assess how the central female characters exhibit and portray African centered feminist ideologies. This study holds the assertion that the particular literary tradition portrayed in Wounding Words seems to be patterned after has the feminist struggle in Africa. The study reveals that Arabic feminism appears to mirror African feminism closely. In the strive to dominate the feminist discourse and channel it to focus on their socio-cultural realities, Accad, just like African feminists, has practically theorized concepts which are inherent in Nego-Feminism, Snail Sense Feminism and Womanism among others. All these feminist theories are anchored on negotiation and complementarity as the primary tools of engagement in the fight for gender equality and equity. Finally, the study reveals the universality of female modes of suppression. It also highlights the institutionalized nature of the feminist struggle as well as the adopted stratagems to dismantle oppression.
{"title":"Voices from the Hearth: An Afro-Feminist Reading of Accad’s Wounding Words","authors":"Grace Danquah","doi":"10.11648/J.IJLA.20210905.12","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210905.12","url":null,"abstract":"This paper explores traces of African rooted feminisms in Evelyne Accad’s Wounding Words. Accad’s work explores the definition and boundaries of Lebanese/Arabic feminism. Accad’s Wounding Words is critically examined to assess how the central female characters exhibit and portray African centered feminist ideologies. This study holds the assertion that the particular literary tradition portrayed in Wounding Words seems to be patterned after has the feminist struggle in Africa. The study reveals that Arabic feminism appears to mirror African feminism closely. In the strive to dominate the feminist discourse and channel it to focus on their socio-cultural realities, Accad, just like African feminists, has practically theorized concepts which are inherent in Nego-Feminism, Snail Sense Feminism and Womanism among others. All these feminist theories are anchored on negotiation and complementarity as the primary tools of engagement in the fight for gender equality and equity. Finally, the study reveals the universality of female modes of suppression. It also highlights the institutionalized nature of the feminist struggle as well as the adopted stratagems to dismantle oppression.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89046669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-27DOI: 10.11648/J.IJLA.20210905.11
Irmtraud Tarr
In this article, the author follows diverse aesthetic, therapeutic and educational facets of musical reception and production. From the levels of meaning of the aesthetic in art, music and music therapy, she draws a bridge to the analogy between the love of music and friendship. In music, art and friendship we can never say everything about them, there is always more to say that can be expressed in words. Because of their individual meaning for us they transcend the boundaries of our knowledge. The love of beauty and friendship opens up listening and musical activity as a physical performance in the devotion to music, in which reflection, experience and action are united. This bodily-aesthetic potential of music can support healing and identity finding in music therapy. Therapeutic work with the medium of music offers sound spaces and resonating spaces that can be experienced by the compulsion of the body and enables one to find one's own aesthetic meaning patterns. It is a matter of finding oneself in music and art with all our senses and to enter into a dialogue through resonance to our own world that we finally can answer the question: Who am I? How do I want to live? How do I want to be?
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Pub Date : 2021-08-31DOI: 10.11648/J.IJLA.20210904.20
Liu Yang
So far, there are three ideas in the study of post theory. These three existing ideas are enlightening to a certain extent, but the common shortcomings are also obvious. They all put the vision of the post theory in the Anglo-American scope, that is, they directly give the Anglo-American position to the theory, but do not aim at the European continent from the internal academic road, which is the center of the theoretical culture. This does not really prove where the theory needs to be improved. The intention of this paper is to overcome this existing limitation and try to put forward a new way of thinking, that is, the philosophy of event is used to connect and activate the post theory. In Europe, the philosophy of event is mainly manifested as a rebellion against the mainstream linguistic theory represented by Saussure. Therefore, when the Anglo-American scholars in the same period began to pay attention to “after theory”, because theory is based on the mainstream linguistic theory, post theory which is mainly popular in the Anglo-American academic circles naturally introduces the philosophy of event as a further promotion. This also makes the post theoretical research go beyond the Anglo-American paradigm which is slowly falling into a certain bottleneck, and get involved in the European dynamics, obtaining the internal intermediary and new growing point. This constitutes a new train of thought of the research of post theory.
{"title":"The Integration of Post Theory and Philosophy of Event and Its Progressive Significance","authors":"Liu Yang","doi":"10.11648/J.IJLA.20210904.20","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210904.20","url":null,"abstract":"So far, there are three ideas in the study of post theory. These three existing ideas are enlightening to a certain extent, but the common shortcomings are also obvious. They all put the vision of the post theory in the Anglo-American scope, that is, they directly give the Anglo-American position to the theory, but do not aim at the European continent from the internal academic road, which is the center of the theoretical culture. This does not really prove where the theory needs to be improved. The intention of this paper is to overcome this existing limitation and try to put forward a new way of thinking, that is, the philosophy of event is used to connect and activate the post theory. In Europe, the philosophy of event is mainly manifested as a rebellion against the mainstream linguistic theory represented by Saussure. Therefore, when the Anglo-American scholars in the same period began to pay attention to “after theory”, because theory is based on the mainstream linguistic theory, post theory which is mainly popular in the Anglo-American academic circles naturally introduces the philosophy of event as a further promotion. This also makes the post theoretical research go beyond the Anglo-American paradigm which is slowly falling into a certain bottleneck, and get involved in the European dynamics, obtaining the internal intermediary and new growing point. This constitutes a new train of thought of the research of post theory.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"211 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76933682","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-23DOI: 10.11648/J.IJLA.20210904.19
Kulish Mariya
The purpose of the study is to reveal three key vectors of activity of A. Siloti as an outstanding representative of the Russian emigre community during his residing in emigration in the USA. These are concert, teaching and editorial activities. A. Siloti belonged to the first, so-called post-October wave of emigration when arrived in the USA in 1921. The main reasons of his emigration were dangerous problems with Bolshevik`s power. He emigrated firstly to Finland, then were European counties, which were famous for Russian emigrants. After three years of wandering, which were marked by A. Siloti`s only concert activities he, at least, began his creative way in USA. So, this article specifies the contribution A. Siloti made both to the cultural environment of the USA at the beginning of the twentieth century, and to the performing and teaching activities of musicians of the first wave of emigration. The relevance of study is due to insufficient research on the activities of A. Siloti in emigration, and especially during his activities at the Juilliard music school. In this educational institution A. Siloti has begun working in 1925. Therefore, the first official information about his activities appeared only in connection with teaching activities at Juilliard. He cooperated with such famous concert collectives as New York Philharmonic Orchestra, Symphonic Orchestra in Sent-Louis, in Philadelphia and so on. That`s way, in this article were classified principles of A. Siloti`s pianism, which influenced on his pedagogical style. It is known from a small number of retained posters that some revisions were included in A. Siloti's concert programs, however they have not been considered as part of performing and interpretive analysis. According to analyze of A. Siloti`s concert posters and memoirs of his colleagues and students, the most part of his repertoire consist of his own editions. So, for making full picture of his emigration activities in this research is presented a detailed analysis of his editorial style on the such examples as Fantasia c-moll by J. S. Bach. Description of reasons for emigration, interpretive analysis of concert activities, as well as determination of the peculiarities of A. Siloti's teaching style in emigration and introduction of unpublished revisions of A. Siloti into scientific circulation provide for the relevance of research carried out in the framework of this article.
{"title":"A. Siloti, a Piano Player and Music Teacher: Emigration from Russia and Peculiarities of Creative Activity in the USA (1921 to 1945)","authors":"Kulish Mariya","doi":"10.11648/J.IJLA.20210904.19","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210904.19","url":null,"abstract":"The purpose of the study is to reveal three key vectors of activity of A. Siloti as an outstanding representative of the Russian emigre community during his residing in emigration in the USA. These are concert, teaching and editorial activities. A. Siloti belonged to the first, so-called post-October wave of emigration when arrived in the USA in 1921. The main reasons of his emigration were dangerous problems with Bolshevik`s power. He emigrated firstly to Finland, then were European counties, which were famous for Russian emigrants. After three years of wandering, which were marked by A. Siloti`s only concert activities he, at least, began his creative way in USA. So, this article specifies the contribution A. Siloti made both to the cultural environment of the USA at the beginning of the twentieth century, and to the performing and teaching activities of musicians of the first wave of emigration. The relevance of study is due to insufficient research on the activities of A. Siloti in emigration, and especially during his activities at the Juilliard music school. In this educational institution A. Siloti has begun working in 1925. Therefore, the first official information about his activities appeared only in connection with teaching activities at Juilliard. He cooperated with such famous concert collectives as New York Philharmonic Orchestra, Symphonic Orchestra in Sent-Louis, in Philadelphia and so on. That`s way, in this article were classified principles of A. Siloti`s pianism, which influenced on his pedagogical style. It is known from a small number of retained posters that some revisions were included in A. Siloti's concert programs, however they have not been considered as part of performing and interpretive analysis. According to analyze of A. Siloti`s concert posters and memoirs of his colleagues and students, the most part of his repertoire consist of his own editions. So, for making full picture of his emigration activities in this research is presented a detailed analysis of his editorial style on the such examples as Fantasia c-moll by J. S. Bach. Description of reasons for emigration, interpretive analysis of concert activities, as well as determination of the peculiarities of A. Siloti's teaching style in emigration and introduction of unpublished revisions of A. Siloti into scientific circulation provide for the relevance of research carried out in the framework of this article.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74805195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-18DOI: 10.11648/J.IJLA.20210904.18
Ivor Moody
In an age where cathedrals continue to attract and inspire many, a powerful, persuasive argument for their success story is often cited in their beauty, grandeur, independence and immense historical and architectural importance. With great power though comes great responsibility and the temptation for its misuse, for which cathedrals by virtue of their size, status and spheres of influence are particularly susceptible. This article attempts a re-evaluation of the source of that power. Through a reflection on personal experience, an exploration of liturgy and a theological assessment of the relationship between the border and the centre, it recalls the Gospel imperative that real power resides in the first being last, and the Kingdom of God belonging to the poor. It argues that the very thing which gives the cathedral its authority, influence and responsibility- the cathedra- concerns the frailty and vulnerability of a bishop which, through her apostolic ministry centered and emanating from the ‘mother church’, brings true meaning and relevance to the cathedrals’ task of drawing alongside and giving theological and spiritual meaning to people’s own frailty, vulnerability and pain. It concludes with the suggestion that, consequently, cathedrals can be places which envelop all of us.
{"title":"Speaking Truth to Power: How and Why Cathedrals Touch Lives","authors":"Ivor Moody","doi":"10.11648/J.IJLA.20210904.18","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210904.18","url":null,"abstract":"In an age where cathedrals continue to attract and inspire many, a powerful, persuasive argument for their success story is often cited in their beauty, grandeur, independence and immense historical and architectural importance. With great power though comes great responsibility and the temptation for its misuse, for which cathedrals by virtue of their size, status and spheres of influence are particularly susceptible. This article attempts a re-evaluation of the source of that power. Through a reflection on personal experience, an exploration of liturgy and a theological assessment of the relationship between the border and the centre, it recalls the Gospel imperative that real power resides in the first being last, and the Kingdom of God belonging to the poor. It argues that the very thing which gives the cathedral its authority, influence and responsibility- the cathedra- concerns the frailty and vulnerability of a bishop which, through her apostolic ministry centered and emanating from the ‘mother church’, brings true meaning and relevance to the cathedrals’ task of drawing alongside and giving theological and spiritual meaning to people’s own frailty, vulnerability and pain. It concludes with the suggestion that, consequently, cathedrals can be places which envelop all of us.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79046227","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-08-04DOI: 10.11648/J.IJLA.20210904.17
Renzo Rabboni
Michele Barbi (1867 - 1941) can be considered the founder of the new Italian philology, based on a revision of Lachmann's method whose results are entrusted to the critical edition of De Vulgari Eloquentia, to the studies on Dante's Canzoniere and to the contributions later collected in the volume The new philology and the edition of our writers from Dante to Manzoni (1938). Using correspondence with other scholars and theoretical statements, the article investigates the contribution given to the birth of the new philological method from Barbi's interest in popular poetry, which constitutes the second 'horn' of Barbi’s studies, alongside Dante's. At first they are taken into consideration the scholar's training at the school of Alessandro D’Ancona (1835-1914), who was also an important scholar of popular literature, as well as of Dante, and was able to initiate a whole generation of his pupils to investigate folklore. After considering the main aspects of Barbi's studies on Dante, we examine, also in connection with the studies of other folklore researchers, the project, to which Barbi's fame as a scholar of popular poetry is linked: that is to say the Raccolta di canti popolari e melodie (‘Collection of popular songs and melodies’), which remains the largest and most important corpus of Italian popular literature. The Collection, the result of gathering and arrangement of the materials carried out over a period of 50 years, was never published by Barbi or by his students, except for a few samples. Third, attention will be paid in the speech to the methods that Barbi used in the collection of songs and to the theoretical problems he faced (how to publish a popular text, the relationship of the text with the music), that are still today the guiding criteria of research on folklore poetry.
米歇尔·巴比(1867 - 1941)可以被认为是意大利新文献学的奠基人，他对拉赫曼的方法进行了修订，其结果被委托给批判版的《俗语论》，对但丁的《Canzoniere》的研究，以及后来收录在《新文献学》和《从但丁到曼佐尼的作家》(1938)中的贡献。通过与其他学者的通信和理论陈述，本文调查了巴比对流行诗歌的兴趣对新语言学方法诞生的贡献，这构成了巴比研究的第二个“号角”，与但丁的研究并列。首先，他们考虑到学者在亚历山德罗·德·安科纳(1835-1914)学校的训练，他也是流行文学和但丁的重要学者，能够引导整整一代学生研究民间传说。在考虑了巴比对但丁研究的主要方面之后，我们也结合其他民俗研究人员的研究，研究了巴比作为流行诗歌学者的名声所联系的项目:也就是说，《流行歌曲和旋律集》(Raccolta di canti popolari e melodie)，它仍然是意大利流行文学中最大和最重要的语料库。《收集》是Barbi和他的学生在50多年的时间里收集和整理材料的结果，除了一些样本外，从未被出版过。第三，演讲将关注巴比在歌曲收集中使用的方法以及他所面临的理论问题(如何出版通俗文本，文本与音乐的关系)，这些问题至今仍是民俗诗研究的指导标准。
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Pub Date : 2021-07-24DOI: 10.11648/J.IJLA.20210904.15
Le Jingqi
As a member of plucked stringed instruments, Guzheng, with its granular sound characteristics, constitutes the melody and lines with a strong Chinese national style. The Guzheng playing technique is made up of 4 point like sound in the early spring and autumn period, such as “Tuo”, “Muo”, “Gou”, and “Da” (transliterate), and later developed and innovated linear music skills such as “Tuopi”, “Yaozhi”, “Lunzhi” (transliterate), etc. Guzheng art has a long history, and its playing techniques are constantly innovating. These innovations in linear techniques give the Guzheng, which is a traditional plucked instrument, the opportunity and possibility to better express linear music. In order to explore the meaning and effect of the linear technique of Guzheng performance on the art of Guzheng performance, this study systematically analyzes the development status, performance effects and training methods of the three Guzheng playing techniques, Tuopi, Yaozhi, Lunzhi. This study further analyzes the technical characteristics of the three techniques of Tuopi, Yaozhi, Lunzhi in guzheng playing, and draws conclusions about the importance of “linear” art in the development of Guzheng. It not only provides references for the performers in the acquisition of the three skills systematically, accurately and scientifically, but also helps the performers to improve their performance levels.
{"title":"Research on the Inheritance and Development of Linear Skills in Guzheng Performance","authors":"Le Jingqi","doi":"10.11648/J.IJLA.20210904.15","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210904.15","url":null,"abstract":"As a member of plucked stringed instruments, Guzheng, with its granular sound characteristics, constitutes the melody and lines with a strong Chinese national style. The Guzheng playing technique is made up of 4 point like sound in the early spring and autumn period, such as “Tuo”, “Muo”, “Gou”, and “Da” (transliterate), and later developed and innovated linear music skills such as “Tuopi”, “Yaozhi”, “Lunzhi” (transliterate), etc. Guzheng art has a long history, and its playing techniques are constantly innovating. These innovations in linear techniques give the Guzheng, which is a traditional plucked instrument, the opportunity and possibility to better express linear music. In order to explore the meaning and effect of the linear technique of Guzheng performance on the art of Guzheng performance, this study systematically analyzes the development status, performance effects and training methods of the three Guzheng playing techniques, Tuopi, Yaozhi, Lunzhi. This study further analyzes the technical characteristics of the three techniques of Tuopi, Yaozhi, Lunzhi in guzheng playing, and draws conclusions about the importance of “linear” art in the development of Guzheng. It not only provides references for the performers in the acquisition of the three skills systematically, accurately and scientifically, but also helps the performers to improve their performance levels.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"234 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75705573","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-24DOI: 10.11648/J.IJLA.20210904.16
S. Kekeghe
Literature, over the years, has become a potent instrument in humanizing medical practice, which manifests in different forms. Scholars in the domains of literature and medicine have identified the significance of literary knowledge in clinical or medical experiences. From consultation, diagnoses and treatments, humanistic tools constitute the hallmarks of medical practice, which are evident in the therapeutic relationship that involves the patient and care-giver. Literary writers, the world over, have consciously or unconsciously created human health awareness by representing medical episodes and therapeutics as central themes; in such texts, biomedical experiences like illnesses, diseases and ethical issues of medicine are foregrounded. A significant layer of literature and medicine is the exploration of ethical standards in the medical profession, where characterization and dialogues are used to emphasize physician-patient relationship in the therapeutic process. In Nigeria, where medical practice is predominantly doctor-centered, one encounters how physicians and healthcare professionals consistently contravene the Hippocratic Oath, the official and/or sacred document that contains the ethics of medicine. This article examines the appropriation of the patient-centered therapeutic relationship in Emmanuel Babatunde Omobowale’s play, The President’s Physician, highlighting the import of medical ethics in the rehabilitative process. The play is given a close-reading and subjected to qualitative, literary analysis, identifying patient-centered ethical principles like non-maleficence, patient autonomy, beneficence and justice that should form the bedrock of medical practice. Omobowale, in his play, explores the need for medical doctors and other healthcare givers to provide care that is respectful of, and responsive to the preferences of their patients. The analysis is anchored on Stephen Kekeghe’s Pathotextualism which underscores the interplay of illness or disease (pathos) and text (literature).
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Pub Date : 2021-07-23DOI: 10.11648/J.IJLA.20210904.14
Bo Wang, Renjiang Zhang
The object of this paper is Zhuoxie Figures, a painting scroll handed down by Hu Gui, a painter from the Khitan period. Hu Gui, the most representative man of "Northern Grassland Painting School". He had a lot of painting works, at present, Zhuoxie Figures must be the largest, the most representative and most abundant one in content. This picture can be roughly divided into three parts. It depicts the hunting life of the Khitan nobles. "Zhuoxie" means to set up a tent and take a rests. Based on historical documents, this paper explores the hunting procedure and culture of Qidan (also known as Khitan, an ancient nationality in China) in Liao Dynasty. In this paper, by means of analyzing the picture scroll content and historical data, the basic procedures of hunting in Liao Dynasty have been sorted out and summarized. In this way, further analysis of the role of hunting in Liao Dynasty has been carried out. Also, the influence of hunting culture in Liao Dynasty on the customs of northern ethnic groups in later ages has also been preliminarily investigated. The results have shown a duality of culture in Liao Dynasty: It has characteristics of incorporating ethnic cultures and other advanced cultures of diverse nature that were absorbed and accepted.
{"title":"Brief Analysis on Hunting Procedures and Culture of Liao Dynasty Through Zhuoxie Figures","authors":"Bo Wang, Renjiang Zhang","doi":"10.11648/J.IJLA.20210904.14","DOIUrl":"https://doi.org/10.11648/J.IJLA.20210904.14","url":null,"abstract":"The object of this paper is Zhuoxie Figures, a painting scroll handed down by Hu Gui, a painter from the Khitan period. Hu Gui, the most representative man of \"Northern Grassland Painting School\". He had a lot of painting works, at present, Zhuoxie Figures must be the largest, the most representative and most abundant one in content. This picture can be roughly divided into three parts. It depicts the hunting life of the Khitan nobles. \"Zhuoxie\" means to set up a tent and take a rests. Based on historical documents, this paper explores the hunting procedure and culture of Qidan (also known as Khitan, an ancient nationality in China) in Liao Dynasty. In this paper, by means of analyzing the picture scroll content and historical data, the basic procedures of hunting in Liao Dynasty have been sorted out and summarized. In this way, further analysis of the role of hunting in Liao Dynasty has been carried out. Also, the influence of hunting culture in Liao Dynasty on the customs of northern ethnic groups in later ages has also been preliminarily investigated. The results have shown a duality of culture in Liao Dynasty: It has characteristics of incorporating ethnic cultures and other advanced cultures of diverse nature that were absorbed and accepted.","PeriodicalId":14110,"journal":{"name":"International Journal of Literature and Arts","volume":"184 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81584493","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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