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Copyright of National Palace Museum Research Quarterly is the property of National Palace Museum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Local Color display technology utilizes a high refresh rate LCD open‐cell without a color filter, and enables color adjustment through independent RGB backlight zones that are isolated by an Anti‐Scatter Grid (ASG). Synchronized calibration between the open‐cell and the backlight zones is achieved by aligning the backlight controller with the Vertical Clock Pulse (CPV) / Vertical Start Pulse (STV) signals in the open‐cell gate driver, thereby determining the open‐cell scan line position. After the synchronous calibration is completed, the backlight controller refreshes the corresponding RGB backlight zones whenever the open‐cell scan line passes through them. The Local Color display technology can reduce the cost of open‐ cell by 20%, improve the resolution to 3x, improve the brightness to 8x, improve the color gamut to BT2020, and improve the grayscale to 32‐bits. [ABSTRACT FROM AUTHOR]

Bosnia and Herzegovina (BiH), a country rich in history and culture, has for centuries been at the crossroads between the West and the East, which has resulted in quite a mixture of cross-cultural elements that pose many obstacles for translators. As the issues of tourism-language translation have been relatively underexplored in BiH, this article attempts to investigate the extent to which the translators of tourismrelated content available online succeeded in making the local color of architecture-related terms accessible to foreign visitors. The article also examines whether the issue of accessibility of local color was addressed adequately by local translators. Many formal and informal online sources were used for the selection of prominent cultural terms and their English translations, which were analyzed in terms of lexis and semantics. We identified many examples where the cultural content was made accessible to the target audience, as well as examples where the transfer of the cultural content was done less successfully. In cases where translators experienced difficulty while transferring cultural terms, we attempted to draw prospective translators' attention to potential pitfalls in the process of cultural mediation in translation from BiH's official languages into English. [ABSTRACT FROM AUTHOR]

This article interrogates why the creators of Napoleonic opera, specifically of Gaspare Spontini's Fernand Cortez (1809), were so eager to publicize their source-based method for representing history. The article frames this eagerness in broader developments toward historical realism in nineteenth-century France and its epistemological claims, namely, that history provides true knowledge about the past. These epistemological claims are foundational to how historians and artists sought to mobilize historicity and local color to champion narratives of empire as founded on the supposedly transhistorical process of civilization. In Fernand Cortez these mobilizations revised eighteenth-century skepticism toward sixteenth-century colonialism into a narrative of imperial success that the government hoped would garner support for Napoléon's Spanish campaign. Ultimately, the emphasis on historicist detail undermined the opera's specific propagandistic message, but it did provide a model that popularized and disseminated general ideologies about empire and civilization beyond France's intellectual circles. [ABSTRACT FROM AUTHOR]

This article analyzes Ferdinand Denis’ book Scenes of nature in the tropics and their influence on poetry (1824) focusing on the relationship between the book’s postulate and its main theoretical references. This analysis, aiming to understand the place and importance of that publication for the Franco-Brazilian literary history, also compares Ferdinand Denis’ call for an awakening of the French literature to the landscapes of the tropics and the reaction of the most prominent French critics of the time to the author’s ideas. Based on this analysis, we observe that, unlike in Brazil, where Scenes of Nature in the Tropics served as a tenet for the creation of a Brazilian romanticism, the book, as well as Ferdinand Denis as a public figure, were rejected by most French literati due to the limitations of its theoretical arguments. [ABSTRACT FROM AUTHOR]

Park Soo Keun (朴壽根 Pak Sugŭn, 1914-1965) was a modern artist active in Korea from the later Japanese colonial period of the early 1930s to the mid-1960s. Despite the poverty and adversity it caused him, Park persisted in producing paintings of ordinary people, including the poor, that he observed in his everyday life. His use of local color and the distinctive textures of his multilayered oil pigments led to his posthumous recognition by Korean critics and American art collectors as one of the most “Korean” artists. Park’s paintings often present women as the main subjects. His interest in the rediscovery and restoration of Sin Saimdang 申師任堂 (1504-1551), who emerged in the 1960s as a significant female icon with the traits of a wise mother, talented artist, and learned noblewoman, is epitomized in his visual depiction of female figures. Park’s silent, serious representations of Korean mothers, symbolizing suffering and self-sacrifice for the sake of the country’s next generation, evoke nationalistic sentiments, admiration, memories, and nostalgia. Through investigating the construction and representation of such a Korean female identity in the social and cultural context of Park’s time, this study elucidates the current enthusiastic reception of Park’s paintings in Korea and the growing international recognition of a distinctive Korean style in studies of modern Korean art. [ABSTRACT FROM AUTHOR]

Park Soo Keun (朴壽根 Pak Sugŭn, 1914-1965) was a modern artist active in Korea from the later Japanese colonial period of the early 1930s to the mid-1960s. Despite the poverty and adversity it caused him, Park persisted in producing paintings of ordinary people, including the poor, that he observed in his everyday life. His use of local color and the distinctive textures of his multilayered oil pigments led to his posthumous recognition by Korean critics and American art collectors as one of the most “Korean” artists. Park’s paintings often present women as the main subjects. His interest in the rediscovery and restoration of Sin Saimdang 申師任堂 (1504-1551), who emerged in the 1960s as a significant female icon with the traits of a wise mother, talented artist, and learned noblewoman, is epitomized in his visual depiction of female figures. Park’s silent, serious representations of Korean mothers, symbolizing suffering and self-sacrifice for the sake of the country’s next generation, evoke nationalistic sentiments, admiration, memories, and nostalgia. Through investigating the construction and representation of such a Korean female identity in the social and cultural context of Park’s time, this study elucidates the current enthusiastic reception of Park’s paintings in Korea and the growing international recognition of a distinctive Korean style in studies of modern Korean art. [ABSTRACT FROM AUTHOR]

Nineteenth-century French opera is renowned for its obsession with "the exotic"-that is, with lands and peoples either located far away from "us" Western Europeans or understood as being very different from us. One example: hyper-passionate Spaniards and "Gypsies" in Bizet's Carmen. Most discussions of the role that the exotic plays in nineteenth-century French opera focus on a few standard-repertory works (mainly serious in nature), rather than looking at a wider range of significant works performed at the time in various theaters, including the Opera, the Opdra-Comique, and Offenbach's Bouffes-Parisiens. The present article attempts to survey the repertory broadly. Part 1 examines various "different" Cor Other) lands and peoples frequently represented on stage in French operas. Part 2 discusses typical plots and character types found in these operas (sometimes regardless of the particular exotic land that was chosen) and concludes by exploring the musical means that were often employed to impel the drama and to convey the specific qualities of the people or ethnic group being represented. These musical means could include special or unusual traits: either all-purpose style markers of the exotic generally or more specific style markers associated with identifiable peoples or regions. But the musical means could also include any of the rich fund of devices that opera composers normally used when creating drama and defining character: melodie, harmonic, structural, and so on. This last point is often neglected or misunderstood in discussions of "the exotic in music," which tend instead to focus primarily on elements that indisputably "point to" (as if semiotically) the specific land or people that the work is seeking to evoke or represent. In both Parts 1 and 2, instances are chosen from works that were often quite successfully performed at the time in French-speaking regions and that, even if little known today, can at least be consulted through recordings or videos. The workscome from the standard recognized operatic genres: five-act grands operas, three-act opdras-comiques, and short works in bouffe style. The composers involved include gamong others) Adam, Auber, Berlioz, Bizet, Chabrier, Cherubint Clapisson, Fdlicien David, Delibes, Flotow, Gomis, Gounod, Haldvy, Messager, Meyerbeer, Hippolyte Monpou, Offenbach, Ernest Reyer, Saint-Saens, Ambroise Thomas, and Verdi (Les vtpres siciliennes, DonCarlos). Examining certain lesser-known works reveals merits that have gone relatively unheralded. As for the better-known works, approaching them in this wide-angled way grants us a richer appreciation of their strengths and their often-enlivening internal contradictions. [ABSTRACT FROM AUTHOR]

Movies have been everybody’s favorite across all ages. Some movies are not suitable for certain ages and the parents’ assistance is needed during the watching movie process so that they can show the morals conceived in the movie. This study tries to shed lights on the elements contained in a movie entitled “Sense and Sensibility”, a movie made based on a novel by Jane Austen. This study was carried out in qualitative approach using visual feature analysis technique. The object of this study was the movie with the duration of 140 minutes. The data obtained were then classified based on its elements such as realism, local color, narratives, and symbolism. The result portrayed that the realism given in this movie is the condition of a noble family who had lost all of their wealth and life had been becoming crude. The local color depicts the social status in the mid-eighteenth century. The story was narrated in the linear plot and finally, the symbolism in this movie exposed much about the calming and melancholic nature of Devonshire.

Abstract: Language related to culture. Like other languages, Indonesian language is also heavily influenced by local cultures. For this reason, as a BIPA teaching strategy, it must also introduce cultures in Indonesia. Materials that can be introduced for this purpose are local color literature in the form of poetry and prose, both novels and short stories. Many local colors in Indonesian literature have been found since the birth of Indonesian literature. In addition to describing the local colors of Minangkabau, various local colors of other regions enrich the Indonesian literary repertoire. The local color literature that can be used is a collection of Terang Bulang Terang di Kali short stories : Keliling Betawi story (2007) by S.M. Ardan. The use of local colors not only introduces Indonesian culture but also increases language skills especially to expand the vocabulary of the Indonesian language. In addition they will enjoy the beauty and capture the message conveyed in the form of the literary work. Thus, teaching BIPA will be fun and useful as well as the function of the literature itself which is dulce et utile, pleasant and useful. Keywords: sastra, warna lokal, strategi pengajaran, BIPA

This article focuses on Sarah Orne Jewett's The Country of the Pointed Firs, the most famous example of the realist genre of local color. Published in 1898, the novel was written during the verymoment of the generic collapse of local color. That collapse occurs within the literary system, in which any work of literature is enfolded--the functionally differentiated system that comprises writers, readers, genres, styles, the critical apparatus, and the publishing apparatus. As Firs stages the death of a small Maine community, it models its own death as a generic instance within the literary system. Firs both encodes and observes the gradual denaturing and collapse of its own classical-realist premises, which cannot abide the drawing into equivalence of character, interiority, and interpersonal communication withthe inhuman formalism of systems. In the wake of the collapse of its classical-realist premises, the novel offers a final, speculative vision of a realism for the systems epoch. [ABSTRACT FROM AUTHOR]

While critics may wrestle with Huckleberry Finn's role in the American canon – including what Hemingway meant by singling it out for praise – they usually agree that Huck sounds as lifelike as "a real boy talking out loud." Yet Twain himself believed that "the moment 'talk' is put into print" it turned into a "corpse." His solution was a specifically written mode of 'talk,' severed from its origins in speech so as to belong on the page rather than in anyone's mouth. For Hemingway, Twain provides a model for overcoming the problem of artificial dialog not because his printed talk sounds just like the real thing, but because it's no longer primarily trying to. And when Hemingway himself composes dialog that displaces what was 'really' said somewhere off the page, using a kind of purported translation that Ben Lerner has termed "virtualization," he reveals Twain as an unexpected source of American literary modernism – and of modern nationalism as well. That is, since Huck's language derives from oral catchphrases rooted in racialized dialect, his voice transforms the kind of minority speech associated with the country's deepest divisions into the kind of literary language that everyone could recognize as "purely American." [ABSTRACT FROM AUTHOR]

Generally speaking, Laoshe is a writer who tended to incorporate heavy local color into his own works. However, there is an important phenomenon in China’s literary history that Laoshe intentionally abandoned his depiction of Beijing’s local color in his writing in the early period of the Anti-Japanese War and stopped writing in his most skilled Beijing dialect. It’s not until around 1943 that Laoshe restarted to bring Beijing’s local customs into his novel writing. In this paper, the author tries to interpret this literary phenomenon by analyzing the reasons why Laoshe reused local color in his 1940s writing. In the final part of this paper, the author concludes that the reason why Laoshe abandoned Beijing’s local color in his writing in the early period of Anti-Japanese War is that he worried that the depiction of a certain region might not reflect the new image of Chinese people in Anti- Japanese War thus couldn’t encourage the whole nation. However, in around 1941, with Laoshe started to regard local color as an effective carrier and means of narration, the application of Beijing’s local color again became the most important characteristic of his works. [ABSTRACT FROM AUTHOR]

The Magician of Magdeburg, an anecdote in Johann Weyer's De praestigiis daemonum, a book renowned for its place in the witchcraft discourse, tells of an ambitious ocular delusion, the supposed upward and concatenated flight of the magician, his horse, his wife, and his maid. Weyer cites this story in every edition of his book as an exemplum of demonic magic, its perpetrator belonging to Weyer's category of infamous magicians. By the nineteenth century however, full literary secularization is observed. The crucial step was the identification of the little story, under the influence of the Brothers Grimm, as a regional and urban Sage , hence of interest more as an example of local folklore than as an illustration of a large-scale enchantment. Owing to this new taxonomy, the sorcerer emerges as a harmless practitioner of magic and a cousin to Till Eulenspiegel. [ABSTRACT FROM AUTHOR]

Copyright of História da Historiografia is the property of Sociedade Brasileira de Teoria e Historia da Historiografia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Symmetry in biological and physical systems is a product of self-organization driven by evolutionary processes, or mechanical systems under constraints. Symmetry-based feature extraction or representation by neural networks may unravel the most informative contents in large image databases. Despite significant achievements of artificial intelligence in recognition and classification of regular patterns, the problem of uncertainty remains a major challenge in ambiguous data. In this study, we present an artificial neural network that detects symmetry uncertainty states in human observers. To this end, we exploit a neural network metric in the output of a biologically inspired Self-Organizing Map Quantization Error (SOM-QE). Shape pairs with perfect geometry mirror symmetry but a non-homogenous appearance, caused by local variations in hue, saturation, or lightness within and/or across the shapes in a given pair produce, as shown here, a longer choice response time (RT) for “yes” responses relative to symmetry. These data are consistently mirrored by the variations in the SOM-QE from unsupervised neural network analysis of the same stimulus images. The neural network metric is thus capable of detecting and scaling human symmetry uncertainty in response to patterns. Such capacity is tightly linked to the metric’s proven selectivity to local contrast and color variations in large and highly complex image data.

No Considering color pallet of the buildings of every city, arouse a debate related to identity and aesthetics of urban environment. This debate is succeeded by researches about the color of cities, from limited hues of traditional city to numerous colors of modern city. The French Lenclos was the first one who after dedicating many years to the color subject, innovated a method of surveying color of cities; which is used by anyone who is researching in this field. This article after mentioning Lenclos’ method of surveying color plan of cities, represents author’s case study in color pallet of Fuman. Author’s method in this case study is a combination of digital photography and photo shop software along with Lenclos’ method. Results (shown in a bar chart) confirm that although traditional color pallet of the city is still dominant, but it has some differences with citizens’ opinion achieved by interviews and questionnaires.

During the Japanese colonial period (1910-45), Japanese inhabitants of Chosen enjoyed composing Haiku, collectively referred to as ‘Chosen Haiku’. From the 1920s to 1930s, the literary world of Chosen Haiku started to question the essence of Chosen Haiku. The key theme debated in contemporary literary circles was ‘local color’. Specifically what this local color was became a popular keyword in literature and arts. Especially, in the world of arts, the word is well known to describe the art-work of Chosen artists such as Insung Lee in the late 1920s. However, in the world of Haiku, the term started to be used when Matsu no Mi was published by the Haiku writers such as Tokoshi Kusume in the 1920s. This local color now refers to Chosen Haiku. This article will identify what ‘the local color’ meant to Chosen Haiku and discuss how the quest for an identity of Chosen Haiku was related to the identity of Japanese residents in Chosen.