MEHWA / 梅花
‘MEHWA’ (梅花) comes from the Korean word ‘매화’, which means ‘plum blossom’. This tumblr is a platform for Korean arts, literature/poetry and culture - as well as other cultures of personal interest to me, such as Tibet and China. Enjoy, and please reblog :)
MEHWA / 梅花
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han-nara:

On the bias and imbalance of Western media reporting on peripheral, “other” countries.
Politics of News: Third World Perspective edited by J. S. Yadava
…”the flood of Western media constitute a modern form of cultural imperialism…a facet of neocolonialism.”
"The largely one-way flow of information, with marked preference for [insert tabloidy, sensationalized, omg look at the "other" stories]…to the point of obsession…"
han-nara:

On the bias and imbalance of Western media reporting on peripheral, “other” countries.
Politics of News: Third World Perspective edited by J. S. Yadava
…”the flood of Western media constitute a modern form of cultural imperialism…a facet of neocolonialism.”
"The largely one-way flow of information, with marked preference for [insert tabloidy, sensationalized, omg look at the "other" stories]…to the point of obsession…"
han-nara:

On the bias and imbalance of Western media reporting on peripheral, “other” countries.
Politics of News: Third World Perspective edited by J. S. Yadava
…”the flood of Western media constitute a modern form of cultural imperialism…a facet of neocolonialism.”
"The largely one-way flow of information, with marked preference for [insert tabloidy, sensationalized, omg look at the "other" stories]…to the point of obsession…"
han-nara:

On the bias and imbalance of Western media reporting on peripheral, “other” countries.
Politics of News: Third World Perspective edited by J. S. Yadava
…”the flood of Western media constitute a modern form of cultural imperialism…a facet of neocolonialism.”
"The largely one-way flow of information, with marked preference for [insert tabloidy, sensationalized, omg look at the "other" stories]…to the point of obsession…"
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theparisreview:

As Dmitri Nabokov writes in issue 175 on Vladimir Nabokov’s poem “Revolution,”

An investigation into the history of this poem begins as a simple path but then its meanders peter out in a mysterious morass. It is not entirely clear whether the young Nabokov wrote it in 1916 or 1917. Even in the second case it would have been eerily clairvoyant for its proximity to the outbreak of the Bolshevik revolution, while its juxtaposition of the tender past with the grisly present would have been even more poignant. A version of the poem in Russian, containing three major errors and various minor lapses, appeared in 1989 in the journal Nashe Nasledie, and was cited by Maria Malikova in her 2002 Russian edition of Nabokov’s poems. The original manuscript is now in the Berg Collection of The New York Public Library. My translation of the poem, which appears here, marks its first publication in English.
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“Caribou Grove”, 130cm x 162cm

Uncharted Village II. In this exhibition, Lim, dialogues with the fading cultural memory of mountain Caribou. She learned of this memory on a previous visit to North Vancouver when she encountered a text by Marilyn James, the appointed spokesperson of the Sinixt or Arrow Lakes People, a living First Nation long declared extinct by the Canadian government. What emerges is a trans-pacific, inter-textual conversation between inheritors of colonial legacy regarding collective loss and wounded memories mediated through gentle landscape/dreamscape paintings executed with traditional and contemporary Korean painting and paper making techniques.
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One of Joan Didion’s manuscript pages. Holy crap on a cracker.
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The weird and wonderful sculptures of Yee Sookyung:
"…the newest works are her Translated Vase series which are sculpture composed of pieces derived from actual ceramic works, but the finished product of her work is something unfamiliar and unusual. The method she uses to attach the pieces together correspond to the restoration of valuable ancient ceramics and these works are distinctive in the sense that they allow the viewer to become mindful of notions of the what is highly valued versus what is abandoned, what is historical versus what is modern, and what is art versus what is non-art. The artist questions the viewers as to who is the artist. The act of the ceramists destroying their failed works can be read as cliché in a sense of an artist wanting a flawless piece of work but at the same time it is also a gesture of contributing scarcity to commonly made ceramics. On the other hand, the artist’s act of collecting the broken pieces to make a new piece of work, and the circus acrobat (featured in the artist’s drawings) trying her best not to break the ceramics can be seen as the exact opposite gesture of the ceramists.”
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Jiha Moon, Big Pennsylvania Dutch Korean Painting, 2011, ink and acrylic with mixed media on Hanji, 57 x 64 inches
Something a little more contemporary.
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"In art, you don’t get to learn something- you get to feel something. That’s why we listen to music. We don’t listen to music to learn that there are people in the world that don’t know who their daddy is. We already know that. But when Freddy Cole sings ‘I Wonder Who My Daddy Is’, you get to feel it. You get to feel what he feels."
Roma (via shitmyphotoprofsays)
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awritersruminations:

Draft of “Sheep in Fog” by Sylvia Plath
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Vincent Van Gogh’s Almond Blossoms.
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Azaleas
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"I said to myself, This is my job now, I’m a writer, and that means I have to write regularly and not just when I feel like it."
Emmanuel Carrère (via theparisreview)
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theparisreview:

David Ignatow, The Art of Poetry No. 23
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Ink and wash painting on rice paper by South Korean artist, Park Kaesook