Earticle

In order to find out the musical features of the Ci Yue works of women writers in the Song Dynasty, this paper confirms all the wo rks of women writers in the Song Dynasty that have survived as c i collections and music scores, and interprets the music features of women writers in the Song Dynasty. This manuscript identifies the features of the Song Dynasty femal e writers’ Ci Yue works, identifies all recorded Song Dynasty femal e Ci Yue(詞樂) writers and their works, and analyzes the musical features of Song Dynasty female Ci Yue. All kinds of word sets and music sets of Ci Yue were statisticall y sorted out, and the development process of Ci Yue was sorted ou t. 〈Song of Bai Shi Dao Ren〉by Jiang Kui in Song Dynasty is t he only Song Dynasty ci score that has been preserved, but it does not include female works. In the collection of Poems in the Grass Hall, there are many female works, and many female works were a dded in the Ming and Qing Dynasties. Based on the female ci recor ded in 〈Cao Tang Shi Yu〉 and the study of various ancient music scores, it can be confirmed that there are four kinds of music score s for recording female Ci Yue, which are left over in China and Jap an in the 17th century, 〈Wei’s Music〉, 〈Jiugong Dacheng North-S outh Ci Gong Music〉 and 〈Sui Jin Ci Music〉, 23 female Ci Yue works of the Song Dynasty, 16 writers and 25 scores can be seen. In order to understand the meaning of lyrics and music in the wo rks of female writers, the authors were first divided into upper clas s, common class, and lower class according to their identities, and t he worldview of the lyrics in the works of each class was observe d. Taking advantage of the education and social environment of the ruling class, women of the upper class left a relatively large numbe r of works, as well as many works with themes of love and patriot ism. The works of common women, based on the education they received in their families, generally express the personal emotions of men and women in love and family life. In addition, the lower-class female writers who used to be geisha or maidservants mainly expre ss their resistance to fate and longing for free love in their works d ue to the particularity of their status and occupation. In order to grasp the characteristics of female ci music works, th e composition, rhythm, rhythm and music category are observed. Th e result shows that the female works mainly use the FanZi(凡字)k ey (1=e) and the XiaoGong(小工) key (1=d). The works of the uppe r class women are mainly in seven-tone mode, with the most “Ling” and the second most “Man”. The Meter(節拍) are mainly 2/4 and 4/4. The works of civilian women are mainly in pentatonic mode, a nd the Meter(節拍) are mostly in 2/4 time and Senza Misura(自由節 奏). The number of “Ling” and “Yin or Jin” is more. The works of lower-class women are mainly in pentatonic mode, and the Meter is Senza Misura(自由節奏). There are a large amount of “Ling” and “Y in” in the works. As mentioned above, this manuscript is a translation and musical analysis of ancient music scores from the 17th century, and attempt s to reinterpret the results in the development of Song Ci Yue. The result proves that female Ci Yue in Song Dynasty developed in vari ous forms, and its musical characteristics were developed to the extent that it was clearly distinguished by class. Through this study, we got rid of the previous research on female ci music and proved that it is possible to study music. This paper puts forward the nece ssity of changing the perspective and method of Chinese women’s music research in the future.

이 연구에서는 수신함수와 표면파 분산을 동시역산하는 방법을 통해 한반도 남부지역의 3-D S-파 속도모델을 구하였다. 10-150초 주기의 한반도 평균 레일리 위상속도 데이터와 $12.5{\times}12.5$ 격자의 레일리파 및 러브파 토모그래피 결과로부터 얻은 0.5-20 초 주기의 군속도 자료가 역산에 사용되었다. 수신함수는 95 개 관측소의 광대역(STS-2), 단주기(SS-1), 및 가속도(Episensor) 채널로부터 계산되었다. 한반도에 운영중인 조밀한 지진관측소 분포는 3-D 지각구조의 자세한 연구를 가능하게 한다. 역산 결과 한반도 남부 지역의 지각과 상부맨틀의 S-파 속도변화와 특성을 자세히 관찰할 수 있었다.

3-D S-wave velocity model in the southern Korean Peninsula is investigated by using the joint inversion of receiver functions and surface-wave dispersion. A peninsula average Rayleigh-wave phase velocity in the 10-150 seconds range and tomographic estimates of the Rayleigh and Love wave group velocities in the 0.5-20 seconds period range determined using a $12.5{\times}12.5\;km$ grid for the southern part of the peninsula are used for the inversion. Receiver functions were determined from broadband (STS-2), short-period (SS-1) and acceleration (Episensor) channels of 95 stations. The dense distribution of the stations in the Peninsula permits us to examine the 3-D crustal structure in detail. The inversion result shows the variation and characteristics of S-wave velocity in the crust and upper mantle of the southern Korean Peninsula very well.

Sungkyunkwan Scandal (SS) portrays the friendship of Sungkyunkwan students who dream of a new Chosun. In this paper, I closely read SS from a feminist/ queer perspective, focusing on representations of cross-dressing, masculinity, and men’s homosociality. I explore how SS imagines Chosun society and enacts a contemporary social critique through experiences and voices of a cross-dressing female who masquerades as a man. I also discuss how SS counters dominant notions of masculinity and intimacy between men. Kim Yoonshik challenges progressive men’s politics by questioning patriarchal ideology and advocating for gender equity. However, by frequently exposing her female body and femininity, SS neutralizes Yoonshik’s feminist subjectivity and visually spotlights her femaleness for her heterosexual romance. Diverse acts of cross-dressing in SS destabilize the binary gender category and disturb the dichotomy of heterosexuality and homosexuality by means of “mistaken” gender and sexuality. In particular, Yoonshik’s cross-dressing and passing foreground the constructedness of masculinity and reveal the uncertainty of masculinity in nature. The friendship of the Zalgeum 4 (Yoonshik, Sunjun, Guloh, and Yoelym) uncovers the potential continuum between homosociality and homosexuality in that they exchange critical pleasures, deep trust, and emotional care in the learning community. SS explicitly displays affectionate touching between men and draws attention to sensuality in friendship. For example, an episode about the gay-rumors revisits homosexuality and homophobia through the lens of Confucian logics. In SS, life and knowledge, self-reflection and social change, and friendship and love are connected and integrated. The friendship among the Zalgeum 4 forges an alternative way of life and creates a humane world in which justice and warmth coexist. SS invites the viewer to glance a utopian future in a fictional past.