Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.

Was ist an Isang Yuns Kompositionen fremd für uns geblieben? Und welche Musik war für ihn fremd, als er nach Europa kam? Mit welchen Schreibweisen machte er sich in dem neuen kulturellen Raum heimisch? Diesen Fragen wird mit einer Konzentration auf das späte Schaffen des Komponisten nachgegangen.

Isang Yun and his works for oboe is a title of this master thesis. It introduces a personality of a Korean composer Isang Yun and it focuses on his works for oboe. The first chapter contains resumé of principal moments of the composer´s life. The next chapter briefly touches characteristics of traditional Korean music, how the western culture is displayed in the Korean music, what is its influence on the Korean music and their inosculation into each other. The following chapter has an aim to introduce the biggest inspirational element in Yun´s life - the philospophy of Taoism. The fourth chapter describes a compositional style of Isang Yun in which elements of both different cultures combine in a unique way. In this chapter one fractional subchapter is also introduced where an insight into a few compositional techniques of the composer and an approach of audience to Yun´s music can be found. Final chapter contains analysis of eight compositions, which Isang Yun wrote for oboe Piri, Doppelkonzert for oboe and harp, Inventionen, Rondell, Images, Quartett for oboe and strings, Bläserquintett and Bläseroktett.

Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.

Poems Easily Written in a Hard Life is an English-language translation of Yun Dongju’s 40 poems. This work of literary translation is proceeded by a translator’s preface which seeks to situate the work in its specific social and linguistic context and to render the translator’s work visible.

This article is mainly based on the image link of how overseas Chinese think about mainland China, discussing how¡§CHINDIA¡¨ theory took shape by Sino-India scholar, Tan Yun-Shan and inherited by his son Tan Chung. To observe from the history, although the Tans live in the different background of environment and period, their proposition is still closely link with Chinese history. Tan Yun-Shan, an education scholar of overseas Chinese in early Republic of China, had developed Chinese culture in south Asia, was consequent invited to India by Tagore, and had done a cooperation of establish ¡§Cheena Bhavan¡¨. During Sino-Japanese Wars, Tan Yun-Shan advocate that China and India should against Japan together, he works as a translator between China and India, delver the important messages from Sino-India government to China government. After the War Tan Yun-Shan also worked hard dedicating the affairs of Cheena Bhavan and keep on develop the relationship between Sino-India and China, due to his great achievement we now respect Tan as ¡§Modern Xuanzang ¡¨. Tan Chung inherit the ideal of creating friendly relations between Sino-India and China from Tagore and his father, trying to find out the lost relationship between the two ancient civilizations China and India. By teaching in university of India, he found that there¡¦s possibly of China and India has the similar friendly civilization in his research of China history. Meanwhile, he also leads the spirits of critical western theory in India academic circle. After retired from India academia, Tan Chung his own Sino-India friendly relations academic theory was almost matured, Spread the theory of ¡§CHINDIA¡¨, face to ¡§the rising of China and India,¡¨ Tan Chung promote a peace development contribute world. As we could see, the Tans¡¦ proposition shows the importance of culture between China and India, they hope to practice the ideal of ¡§CHINDIA¡¨through the interactive of swooping culture and traditional habits .

The primary purpose of this thesis is to explore the reception of Karl Barth's theology in Korea by focusing specifically on his doctrine of the Church. This he describes as the gathering, upbuilding and sending of the Christian community. His work, Church Dogmatics, will be examined, and then an attempt will be made to identify how Barth's Christocentric ecclesiology was indigenized and is still received in Korea by examining Korean Christian thought. This will include an investigation of Sung-Bum Yun's theology of Sung. / The secondary purpose of this thesis is: (1) the description of a unique relationship between Christianity and Confucianism, because Korean Confucianism has played an important role in both the explosive growth of the Christian community and provided a basic foundation for the reception of Barth's theology in Korea; (2) the inquiry whether Barth's ecclesiology, especially his theology of mission (the sending of the Christian community), pays sufficient attention to different cultures and religions; and consequently (3) the justification that the indigenization of Barth's Christocentric theology was, and is, genuinely possible with Korean Confucianism, though Barth's theology is typically confined within the European context. / This thesis will be divided into three chapters. Chapter One is designed as a brief sketch of the historical development of early Korean Protestantism and its impact on cultural and religious changes in Korea. This will include a detailed introduction to Korean Confucianism and its community concept and structure. / In the second chapter, an analysis of Barth's ecclesiology is presented by providing a discussion of what constitutes the true church, the upbuilding of the Christian community, and the missionary task of the Christian community. / Chapter Three indicates why Barth's Christocentric ecclesiology can still make an impact on contemporary Korean ecclesiological theology and practice, by exploring a specific overview of the Korean reception of Barth's theology. On this basis, this chapter critically examines and analyzes Sung-Bum Yun's appropriation and misappropriation of Barth's theology.

Isang Yun and his works for oboe is a title of this master thesis. It introduces a personality of a Korean composer Isang Yun and it focuses on his works for oboe. The first chapter contains resumé of principal moments of the composer´s life. The next chapter briefly touches characteristics of a traditional Korean music, how the western culture is displayed in the Korean music, what is her influence on the Korean music and their inosculation into each other. The following chapter describes a compositional style of Isang Yun in which elements of both different cultures combine in a unique way. Yun´s work is devided here into five stylistic periods and in this chapter one fractional subchapter is also introduced where an insight into a few compositional techniques of the composer, can be found. Final chapter contains analysis of five compositions, which Isang Yun wrote for oboe "Piri, Doppelkonzert for oboe and harp, Rondell, Quartett for oboe and strings and Bläserquintett.

abstract: Wu Yun (d. 778) was prominent poet at the Tang court. His biography of the Daoist ritualist Lu Xiujing (406-77) can be read on several levels. It functions as a source of information on Lu's life and works, but a reading focused on this alone is insufficient. Conventions of Chinese biography dictate the text is read not just with an eye towards who Lu "really was," but also how he functions as a character fashioned by an author for certain purposes. With this in mind, the reader can learn not just about Lu, but about the audience of the text and the aims of its author. Lu functioned as a model for later Daoist masters and as an exhortation to proper conduct towards them on the part of rulers and elites. Finally, with reference to the work of Michel Foucault and scholars of collective memory, this work can be read as a window onto the world of discourse in early medieval China. / Dissertation/Thesis / M.A. Religious Studies 2012

Diplomová práce, Bc. Jan Komárek Abstract This thesis is a comparison of two literary works: on the one hand, nearly forgotten anonymous novel Jin, Yun Qiao Story (金雲翹傳), which was written in China at the turn of XVII and XVIII century, and, on the other hand, of a famous novel in verse called The Tale of Kiều (Truyện Kiều), composed a century later by a Vietnamese poet Nguyễn Du on the basis of the aforenamed work. The primary aim of this thesis is to point to the literary elements by means of which Nguyễn Du enriched his work in comparison to the original, and thus offer an explanation of why each of these works met such a different fate. For illustration, translations of the first chapter of the Chinese novel and of a corresponding part of the Vietnamese poem are presented. The two works are then set in the literary context of their time and Nguyễn Du's relationship to the Chinese novel is assessed on the basis of his other works and related contemporary sources. Subsequently, there is a brief outline of history of the comparison between the two works by Vietnamese and by some foreign scholars. Finally, both texts are subjected to a comparison by means of statistics, examples and references to the translated excerpts presented at the beginning of the thesis. The comparison respects the differences in the...