The “Description of the Selected Villages” written in exile by an official Li Chung-Hwan (1690-1756?) is the first Korean book on cultural geography. It tells about the eight Korean provinces: their history, geography, historical anecdotes, poetry that praises Korean nature, and information about trade and routes. The book was written in Hanmun, a Korean form of written Chinese language. Right now it is being translated to Russian by the author of the article. The study is focused on the concept of “space” and its manifestation in the narrative of the “Descriptions of Selected Villages” where the “real space,” defined by the geographical boundaries, is connected to the “unreal space” that serves as a key element needed for understanding and interpretation of the text. Our task is to correlate the “space” and the text; to reveal the boundaries of the “unreal space” in, according to Li Chung-Hwan, was the Korean state in the 18th century, and to explain the reasons for this perception. We discovered that the “unreal space” described by Li Chung-Hwan is recreated on the basis of a Sinocentric model of the world where the “cultural center - chaos” opposition was transferred to international relations between Korea and the surrounding countries, and was based on the lost values of the legendary Chinese culture. At the same time, it is clearly seen that Li Chung-Hwan tried to define the place for Korea in a new changing world through the formation of a new cultural space.
The article focuses on the historical and geographical literary work of 18th century named the “Description of the Selected Villages” (Taengniji, 擇里志) with reference to the cultural opposition of “friend or foe” which since the 17th century has acquired a special value for Korean intellectuals. With the coming to power in 1644 of the Manchu Qing dynasty and the fall of the Chinese Ming dynasty – the former formal overlord of Korea – Koreans-intellectuals wanted to revise the existing picture of the world, since the “uncivilized” Qing could not be the “Middle State”. Yi Chunghwan, the author of the “Description of the Selected Villages” addressed Korean geography to resolve that cultural conflict, proving the succession of Korea after China, and this article considers the ideas he outlined. According to Yi Chung-hwan, the very geographical location of Korea determines the high level of moral values of the Korean people; its merits – and the main is “loyalty” to the Ming dynasty; and predetermines the development of Korean history and international relations. In “inheriting” the traditional Chinese values, norms and “civilization” Mt. Paektu standing on the border between China and Korea acts as a link, and for that reason Yi Chung-hwan endowed it with special “qualities”. At the same time, the mountain was also included in the territories considered to be sacred for the Qing dynasty. Thus, the conflict between the interests of both states was inevitable.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.