Search Results

Series:

Gala Maria Follaco

his mind and describe with confidence through writing; at some point, however, there is a shift to the present tense, to the still flowing stream of emotions and sensations, that he expresses in an immediate and vivid form, putting the reader in the middle of a scenery whose features are as delicate

Series:

Gala Maria Follaco

modifications of the riverscape, its bridges and ferries and the effects of the wind and light on its surface. These systematically foretell the emotions and moods of the characters, represented in accordance or in contrast with the atmospheres of the place, but they cannot be imagined disconnected from it

Arthur Cooper

Edited by Imre Galambos

intellect rather than just the emotions), 心 is much used in the meaning simply of centre; as in 中心 (72 …) ‘zhōngxīn’, ‘centre’, used in politics, mathematics and physics among other contexts. The character was earlier a picture of a heart: In 空 (80) ‘kōng’, the meaning associator is (80 D ) 穴 vault, cavern

Arthur Cooper

Edited by Imre Galambos

in the body of deep emotion and compassion, as in the First Epistle of St John, iii, 17: bowels of compassion . 熱腸 (265 …) ‘rècháng’, when a noun in itself, can be translated ‘passion’. The character, which is also written 膓, has 月 for 肉 (118 C ) flesh as meaning associator and the same word

Imre Galambos

“disciplined”! 33 These words were probably written in a sudden burst of emotion, as there is another letter with further thoughts on the same subject. In this, he addressed a reviewer’s concern about the potential audience and marketability of the book, providing additional explanation regarding the type of

Arthur Cooper

Edited by Imre Galambos

go out to meet it rather than recognise it at once; and which also has the effect of generalising the notion. 1 The images to be seen, consciously or otherwise, and the emotion to be felt from these seven characters are (whatever their long-ago origins) universal in their validity; and this is

Series:

Gala Maria Follaco

voice of the rain does not rage and does not complain. It but speaks, pleads. Human emotions are forever unchanging; and who, alone in bed listening to the rain, is not moved to sadness?” 51 Although the novel emphasises the dignity of the arts of Edo, the real metaphor of the past is the kanshi

Visual Modernity

Screening Women in Colonial Media

Series:

Jina E. Kim

American ads. Silverberg suggests that Oya Soichi’s comment on Japanese modernity being without “emotions, morals, or ideals—all contours and not content,” could provide a possible answer. 47 Another factor that distinguishes the cartoonist from the archivist and the capitalist is that the cartoonist is

Linguistic Modernity

New Words on the Streets and Modernist Poetry

Series:

Jina E. Kim

balance between intellectualism and emotion. Therefore, according to Kim Uch’ang, “it [ Weather Chart ] is no more than a collection of extremely superficial and fashionable abstractions.” 57 Recent scholarship which situates Kim’s poetry in the context of colonial modernity tends to evaluate his works

Arthur Cooper

Edited by Imre Galambos

character, above 心 (80 C ) for the heart which is the usual meaning associator for the emotions, there is (124 A ) 夕 evening 夕 (124 A ) ‘xī’, ‘evening’: 夕星 (124 A  – 107 C ) ‘xīxīng’, ‘evening star, Venus’. This character was earlier and , and is usually taken as a variant of the drawing of the