• American Studies
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• v.44 no.2
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• pp.193-210
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• 2021

Theresa Hak Kyung Cha's Dictée proliferates with many pronouns. Whether the various subjects invoked in Dictée refer to a single common figure remains ambiguous. By paying close attention to the ambiguity of narrative voice, this essay examines how the creation of narrative ambiguity in Dictée is closely linked to the author's employment of the second person voice. This essay particularly attends to how Cha explores the narrative possibilities of the second person voice in the text's "Calliope/Epic Poetry" section in order to reflect upon experiences of exile and migration on a transnational scale. Through the intimacy and narrative ambiguity of the second person voice, Cha is able to create an epic on migration that is not only transnational in scope, but also invites the reader to engage with the self-alienating aspects of exilic and immigrant life in an unusually intimate yet powerful manner.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.34 no.3
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• pp.38-49
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• 2016

This study is based on the assumption that the documentations, and poetry form a basis for undertone of the location and original landscape explored by inference and enjoyment aspects; the significance has been inferred by investigating the original location, relocated location, and the original landscape of Imsil Manchwi Pavilion. The results of the attempted research for locational value, and preservation of the original landscape before and after the relocation of Imsil Manchwi Pavilion is as follows. Firstly, Manchwi, meaning evergreen, was made a pseudonym of KimWi. The name reflects an image two evergreen pine trees facing one another. The poetry form presents the eternal fidelity. In addition, considering the symbolic plant and the meaning of evergreen pine trees specified on the pavilion, the name is derived from the fidelity, longevity of the family, vitality and so on. Secondly, Manchwi Pavilion was founded in the location, known as the snakehead form, that represents the vitality. Snake faces the swallow form over the river, therefore, it connotes the wishes for fidelity and prosperity of the family. Manchwi Pavillion is prostrate pheasant form which is suitable for those who look for a hiding place or place for their study. It is noticeable that the location infers and hand down the efforts on succession for prosperity of the family and the study. Thirdly, it is estimated that Manchwi Pavilion was established between 1572 and 1582; and the relocation was conducted in the late 1880s. Fourthly, although eternal fidelity was presented in Manchwi Pavillion with locational language, the Manchwi Pavillion after its relocation next to KimWi's grave implies the tendency of the changed value: the commemoration of the ancestors, and prosperity of the family. Fifthly, after the relocation of the pavilion, the proportion of the rooms with Korean heating system, so-called'Ondol'has been increased for its best use in all seasons. And its veranda for extension and its verse couplet implies that this connote the original meaning and pursuit of the study. Sixthly, the way that the poetry portrays pine trees, pond, plants, valleys, and streams shows the aspect of enjoyment of the landscapes and the meaning of fidelity, pure mind, free and easy life, self-examination, the frailty of human life. Lastly, despite the difference between tenth poetic language of three Sipyoung and Wonwoon Sipyeong, exploring the landscape based on the analysis on the poetry can be a basis on the maintenance and restoration of the original landscape as the inspiration and the meaning show that Wonwoon Sipyeong maintains the aspect of the author enjoying original landscape.

• (The)Study of the Eastern Classic
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• no.57
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• pp.383-406
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• 2014

Mi-Am Yu Hee Choon (1513~1577) considered poetry as a part of his life. Therefore, this writer specifically focused on Mi-Am Yu Hee Choon's Chinese poems. The following is the conclusion from the materials discussed in this article. Mi-Am tried to understand literature in ethical perspective. The number of Chinese poems composed by Mi-Am is estimated to be about 300, and the number of pieces that this writer could find was 285. Also, Mi-Am took poem composition seriously, and put emphasis on content more than structure. Among Go Shi, Yul Shi, and Jul gu, Jul gu (especially Chil Un) is the largest in quantity, and it is presumed that he preferred Chil(seven) Un over Oh(five) Un. With regards to Go Shi, there are relatively many Jeon-Go. With regards to Jul gu, which was a poetry composing structure that Mi-Am could make the best use of, they were mostly about the daily lives. And with regards to Yul Shi, there were many poems that expressed his feelings about the real world and self-examination. Mi-Am's poems can be categorized into ones that he wrote when he was on exile, and ones that he wrote while serving for the king again after he got released from exile. During the exile period, self-discipline through learning, friendship, and love for the people were the main themes of his poems, and after being released and started serving for the king again, his poems were mostly about loyalty to the king, interaction with acquaintances, emotions, ancestor worship, self-examination, and conjugal affection through literary communion. Among Mi-Am's poems, there are many that have Eum Song Cha Un included in their titles, and the mainstream of his poems were related to daily lives or experiences. Also, most of them naturally and calmly expressed the fact itself without exaggerating. Mi-Am considered poetry as a part of his life and the fact that he practiced literary communion with his wife by writing poems about the ordinary things happened between him and his wife, Song Duk Bong, is worthy of notice.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.32 no.1
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• pp.44-52
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• 2014

The purpose of this study is to investigate the tendency of the research on the traditional scenery architecture based on the old literature for the last 10 years and to suggest direction of the research on the traditional scenery through utilization of the old literature. For the tendency analysis of the research on the traditional scenery, I investigated and analyzed researches published in the Journal of the Korean Institute of Traditional Landscape Architecture between 2002 and 2012, and reviewed the utilization of the old literature about research on the traditional scenery. The number of the research papers through the old literature was two or three a year by 2009, but has increased to more than eight from 2010. The utilization tendency of the old literature was mostly to use the Korean translations or to use a collection of an individual's works after partially translating. As some of the researches were carried out only through translations even when they used the original, historical evidence on the translation of the original was insufficient. I can suggest the direction of the research on the traditional scenery by the results as follows: it is necessary to present both translation and the original and to specify the source of translation, for the efficient understanding and verification of the original. Professional translation of landscape architecture and scenery also seems to be necessary for the records of the current state. For the analysis of the old literature, as the analysis of the traditional scenery both through poetry and records facilitates assumption of the location of landscape by the abundant data, it seems to be necessary to approach research, using poetry and prose complementarily, after preparing foundation of research based on the records.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.181-220
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• 2018

I analyze Seo Kyung Duk's (徐敬德, 1489-1546) phonetic essay and deduce whether it is related to the Tang poetry style [唐詩風], which was popular in the 16th century. Seo Kyung Duk was known as a Ki[氣]-oriented scholar and a kind of numerologist. He taught people regardless of their status differences, which gave them an open-minded attitude. Most of them were active in the areas near Seoul. Around this time, the Tang poetry style began to be popular in the Yi dynasty. Most of the leading writers of this literary trend were his students. He thought that the universe was made up of the movement of Ki[氣] and that the movement followed the correct order of numbers. Ki[氣] is active, automatic, and inevitably creates the universe in the order of numbers. The reasons for their existence are clear. All present existences, including human beings, fit together and collectively harmonize by themselves. Beyond the present discrimination, the Great Body [本體] returns to a clean and transparent unity. As such, the school presented the political stance of taking the differences of the present world into harmony and the literary position of trying to experience the clean and transparent unity of the Great Body through an aesthetic experience.

• Journal of the Korea Society of Computer and Information
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• v.22 no.4
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• pp.99-105
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• 2017

Plato and Aristotle examined what the true spirit of physical education is and what kind of relationship it is, from the perspective of dividing into two parts of the body and mind. And the relationship between human body and mind, knowledge and behavior. Plato and Aristotle examined the harmonious combination of body and mind and what is the desirable relationship setting. In Plato's soul and body in philosophical centered ideological aspect, human education center emphasizes poetry education, but physical education is recognized as essential education for human education. Plato's body contour emphasizes the harmony of soul and body, not the superiority of the body to the mind. In Plato's education room, physical education should be preceded and then mental education should be done. I thought that there could be no independent souls without bodies. It is not an independent entity but a unified entity. Because there is a body, there is a soul. There is a soul, so a body exists. Aristotle thought that the body was more important than Plato, and that the body should be preceded by the soul.

• Journal of Korea Multimedia Society
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• v.21 no.10
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• pp.1211-1220
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• 2018

Maya Deren is well known as the 'mother' of the American avant-garde films by her first short, Meshes of the Afternoon (1943). One of the major contributions of Maya Deren's theoretical body of work to the visibility was the invention of a new vocabulary for independent film-making such as 'film-poems', and 'choreo-cinema'. To create experimental film forms, she chose poetry, dance, architecture and music as a metaphor to describe her images. On the top of these arts, Maya uses camera works and editing system to achieve an 'artificial reality' whose character is miraculous in that living whole, in order to help the audience to experience a protagonist's psychological journey.

• The Journal of Korean Medical History
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• v.14 no.1
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• pp.167-175
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• 2001

Chonggang Kim Younghoon is a person who cannot be dropped out in speaking of contemporary Korean history. "Susehyunsuh" is very meaningful since it's his early work. It was written in winter of 1904, and it was written to adjust all his medical knowledge so far, before he started lectures after appointment to a professor at Dongje medical school. In general, it's chaptersd are in form of poetry and a characteristic of the edition is that it's in the best use of searching the text for clinical practice. The content is basically sorted from "Euihakyipmun" and "Donguibogam", but prescriptions are mostly referred from Chosun medical books of those days.

• Journal of Korean Classical Literature and Education
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• no.15
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• pp.245-264
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• 2008

This study considers Huewa悔窩 Anjung-gwan安重觀's self-consciousness and the recognition of the world. Anjung-gwan resents that fact that Qing淸 rules over China. He insists that Chosun朝鮮 must remain faithful to Ming明. But Chosun served Qing in those days. He holds strongly to his belief until his death. So he chooses living in retirement in his life. In Anjung-gwan's poems, we can see that a certain circle of Chosun Confucianists believe in Sojunghwa小中華, which is small-Sinocentrism. In the first half of the eighteenth-century, some Chosun Confucianists feel sad about the situation that stops them from realizing their ideals. But they take pride in natural beauty and configuration of Chosun. And they pay attention to the life of Chosun masses. They recognize Chosun, which is Hwa華, has to keep self-respect to the last.

• The Journal of the Korea Contents Association
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• v.11 no.11
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• pp.111-119
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• 2011

Movie research in the 1980's structuralism looks tendency to escape director or text research and analyze spectator or inspection action. These post-structuralist divert interest by analytic convention of spectators in analysis by director's intention or text type correctly. There is the age that spectator, inspectional action and inspectional subject weighs more than director, work and text itself. But, inspection of movie can be person's enemy by director's narrative strategy or spectator's analytic quality that depend on a text and spectator and their interaction usually, and only method to acquire universality chooses full analytic discourse to principle. We should be structured by symbol system that the event is consisted of movie language to reappear the event through narrative in movie and this symbol system, director's narrative strategy can cause fixed esthetic distance between spectator. Researches to analyze this distance need to keep universal validity as much as being accepted by effort to gap with director and spectator. Therefore, narrative poetry that I analyze movie narration style by 'narrated' and unit of 'narrating' and study the form and function so-called, is going to follow narratology's access method. The consistent argument of this narrative poetry is that story is consisted of the events and these observe to structured thing by unit that is sequence through arrangement with the other event that adjoin in the event. Also, director need consensus with spectator to reappear connection of this event logically and it is thing which this reappearance form can be done characteristic by narrative strategy in directing. I am going to try narrative structure analysis of movie by narrative that is connected at structure of the event and 'narrating-narrative acts' that is interested in way to reappear this story to spectator hereupon. Of course, at process of research, Roland Barthes and his followers wish to apply 'narrative function' and concept of 'narrative acts' that prefer from time to time.