• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.103-113
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• 2022

As globalization progresses and localization takes place, interest in local culture is increasing. In line with this trend, the Cultural Heritage Administration has been promoting the Cultural Heritage Night Tour Project as a night-type cultural property tourism content since 2016. Cultural property nightlife, part of the regional regeneration project, creates new added value by converging and combining various historical and cultural-related contents centered on local cultural heritage. Although the "cultural nightlife" has been greatly activated, it is judged that changes are needed to continue. This is because fixed nightlife programs are positive in terms of establishing a nationwide network, but there is a limitation in that they cannot be standardized and expanded to various forms. Therefore, in this study, the meaning and limitations of nightlife programs were identified, and cognitive theory applicable to nightlife programs was considered. Through this process, it was confirmed that cognitive poetry's 'circular for dynamic semantic composition', 'surreal foreground', and 'adventures in time and space' can be applied to nightlife programs. As a result of combining cognitive poetry with nightlife programs, it was possible to present a strategy for implementing nightlife programs differentiated from existing nightlife programs.

• Journal of architectural history
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• v.6 no.2 s.12
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• SUVANNABHUMI
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• v.4 no.2
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• pp.17-32
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• 2012

This study explores the concept of postmodernism in literature. There are many ideas which have conflicted with each other, but now postmodernism is real concept. We cannot deny. By researching papers of Jean-François Lyotard, Jean Baudrillard, Jacques Derrida, Michel Foucault, Julia Kristeva, Roland Barthes, Ihab Hassan etc. we find out many characteristics of postmodernism. From that, we propose a conceptual understanding of postmodern literature as follows: Starting from the late 1910s with the poetry of Dadaism (1916), Franz Kafka's prose (Metamorphosis 1915) and drama by Samuel Beckett (Waiting for Godot 1953), postmodern literature coexists with modern literature and is a thriving form from 1960 on. Postmodernism is opposed to modernism in nature in that it accepts nothingness, chaos, games and intertextuality. It tries to solve some difficult problems of modernism making use of science to free people from a life of darkness and dogma. Postmodernism is associated with the information technology revolution, an economic, scientific and technological boom and rapid urbanization.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1103-1117
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• 2012

This paper focuses on eighteenth-century English pastor, poet, and hymnist, Isaac Watts (1674-1748), a significant yet neglected nonconformist dissenter, who defines a public religion and transforms poetry as a new literary political genre. During England's post-Revolutionary religio-political turmoil, Watts's poem, "The Hurry of the Spirits, in a Fever and Nervous Disorders" (1734), deliberately engages in a methodical refusal to settle upon a single system of images or terms for describing or referring to the speaker's identity or situation. Watts's, literal and metaphoric, refusal to identify with one religio-political approach to nonconformist dissent has been the very point of criticism that not only undermines the poet's monumental work on hymns but also the lasting impact that the poet had upon England's national consciousness. This study, therefore, questions why the poet refuses to choose one ideal path in his pursuit for religious freedom and, further, analyzes how the hymn writer defends his demotic aesthetics. This paper investigates Watts's comprehensive and detailed formulation of what a secularized "social religion" should entail and, further, explores its beneficial role in the pursuit for society's peace. In contrast to Milton's apocalyptic vengeance, Watts's nonconformist goal seeks to balance and locate authority in the individual with the ancient ideal of a "sacred order" that is represented in "The Hurry of the Spirits" through the means of poetic imagination.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.72-79
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• 2019

This study tries to study the poetic beauty of the space deconstructed by the medium appearing in Moon Sam-seok's children's poetry to help with simultaneous education and guiding methodology. The research method is based on the assumption that semiotics spatial image is read. In other words, we intend to derive the poetic beauty of the space in which the great pole space built by is deconstructed by the intervention of by the medium term . Among Moon Sam-seok's series of works, the research text is "The Wind and the Fire," "The Wind and the Empty Bottle," "The Wind and Salt," "The Wind and the Rock." According to the study, the wind deconstructed a space that was differentiated by the presence or absence of matter into a "coexistence space." These poetic spaces symbolize poetic beauty as ideal places of life that coexist in a distinction but not discrimination. Second, the wind has eliminated the gap between alienation, suffering and solitude. In other words, the wind deconstructed poetic space produced poetic beauty with the 'space of communication' based on homogeneity of the nature of existence. In conclusion, Moon's poetic speech can be seen that he intended to express the discreteness of the poetic space as 'communication' and 'common life' by deconstructing it with deviation and convergence by introducing a medium.

• Cross-Cultural Studies
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• v.21
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• pp.139-164
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• 2010

Sung Yung Shin was adopted as a Korean infant to an American family. She is now one of the most important writers in Asian American literary field. This paper analyzes the characteristics of her literature, focusing on Skirt full of Black (poetry)and Cooper's Lesson(children's book). Sun Yung Shin uses collage in Skirt full of Black as an effective rhetorical device because it can express her experience as an adopted other in the multicultural American society. She rewrites the fairy tale of Swan Prince in the viewpoint of silence. For a yellow Asian adopted woman, speaking is suppressed. In the end, the attempt to escape from silence is the writer's resisting activity, and the rewriting of the tale is her questioning in place of the princess. I analyses Cooper's Lesson in the viewpoint of transcultural assimilation. Cooper's lesson is accomplished not by his white father but by a Korean settler, Mr. Lee. Cooper's family is a hybrid composed of white American father, Korean mother, and their half son. So this family has many complicated difficulties, though it's small. Mr. Lee who accepted a new language to establish a new identity teaches Cooper the importance of cultural assimilation, which is not a one-sided integration to dominant culture but an intercultural communion while sustaining each culture's singularity. Cooper learns that he should live in an harmonious and balanced life in a multi-cultural society while keeping his own subjective point of view.

• Sijohaknonchong
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• v.26
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• pp.243-261
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• 2007

In this study, I have looked though the Sijo made by Sowol and Jiyoung who were the frontiers of the Korean modern poetry. Through this study, I've tried to research the relationship between the free verse and their versifying Sijo. Sowol made the eight Sijo : six Sijo made in his early days. and the others made in later days. Sowol's early free verse tended to show the regular form. Although his 6 Sijo maintained the traditional form, he tried to make the formal changes. But the subject of those were in the way of view points of old Sijo. But the rest two Sijo strongly showed the problem of reality. Jiyoung made the 9 Sijo in his early days. But Jiyoung's is different from Sowol's. Jiyoung tried to make a new way of expressing the poetic images while Sowol was focused on the formal changes. Also, his final work 'Eun' had the feature of fixed form of verse. Through the research mentioned above, I confirmed that their tries to make the fixed form of verse were the background of developing and pioneering their free verse.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.

• Journal of Korean Philosophical Society
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• v.137
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• pp.439-462
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• 2016

This Article's aim is to articulate Confucius's theory of poetics in analects. Confucius tried to establish Humanism and educate the idea of 'learning to become a sage' based upon six classics. He empathized with the education of The Book of Poetry. Sze-ma Tseen said that the old poems amounted to more than 3,000. Confucius removed those which were only repetitions of others and sang to them with his lute, bringing them into accordance with the appropriate musical style. This is the first notice which we have of any compilation of the ancient poems by Confucius. Confucius said, "If you do not learn the Odes, you are not fit to converse with. The Odes 1) serve to stimulate the mind, 2) may be used for purposes of self-contemplation, 3) teach the art of sociability, 4) show how to regulate feelings of resentment, 5-6.) 'From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince. and from them we become largely acquainted with the names of birds, beasts, and plants.' Confucius' said, 'In the Book of Poetry are three hundred pieces, but the design of them all may be embraced in one sentence-- "Having no depraved thoughts."' This sentence is the final definition of Poetics.

• (The)Study of the Eastern Classic
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• no.32
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• pp.29-50
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• 2008

This thesis is an introduction and critique of the recently released 'Wongyo-Jinjeok(원교진적)'. 'Wongyo-Jinjeok' is the critique of Seokjeong Jeong-Jik Lee (석정 이정직, 1841-1910), a practical scientist and writer during the last years of the Korean Empire, on the calligraphy of Wongyo(원교) Gwang-Sa Lee (이광사, 1705-1777). Even though whether or not Seokjeong follows the flow of Donggukjinche(동국진체) is to be determined by the specialists in this field, this thesis is based on the view that Seokjeong was influenced by Donggukjinche. The academic value of 'Wongyo-Jinjeok' is Seokjeong's preface and epilogue which critiques Wongyo's writing. 'Wongyo-Jinjeok'is a collection of calligraphic specimens from the 18 pieces of Chinese poetry Wongyo had written before and after June 1756 which was the year after he was banished to Booryung. Seokjeong critiqued the writing of Wongyo from the perspective of calligraphic history in the preface and epilogue of 'Wongyo-Jinjeok'. Seokjeong had been positive about Wongyo's taking after the pre-Wangheejee calligraphic style. But at the same time, Seokjeong thought that Wongyo's ability to create was limited by the public morals of that time. Such thought of Seokjeong can be interpreted as an evaluation of Wongyo's calligraphy as having been externally stern but failing to transcend the realm of mastery to the realm of creation.