• Cross-Cultural Studies
• /
• v.39
• /
• pp.219-240
• /
• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.

• Journal of English Language & Literature
• /
• v.64 no.3
• /
• pp.307-327
• /
• 2018

In light of Korean inclusion of its diaspora as part of the nation, a "creolized" approach that brings together constructions of the bad subject of Asian American studies with conceptions of the Korean minjung grounds an analysis of two poets as they might be considered from a bi-national, Korean and U.S. American, perspective. The poets Ed Bok Lee and Jason Koo show different ways of being the bad subject. Lee is clearly a bad American subject, resisting American white racial hegemony, and his poetry often addresses a kind of American minjung multiculturalism, as is shown in poems from his first two books Real Karaoke People and Whorled. He challenges some aspects of contemporary Korea, and might be a kind of Korean bad subject in those challenges. Koo, on the other hand, resists the call to bad subjectivity, so that his poetry may not fit the preferred paradigm of Asian American studies, as he recognizes. As he resists that paradigm, he also gives little attention to his Korean heritage, so his not-bad American subjectivity becomes bad Korea subjectivity. He recovers some measure of badness in the final poem of Man on Extremely Small Island when he connects briefly to his Korean heritage and his Asian American present. The creolized juxtaposition of the bad subject with the minjung suggests the use of these poems in considering both American and Korean society.

• Journal of Korea Entertainment Industry Association
• /
• v.13 no.8
• /
• pp.325-334
• /
• 2019

Director Lee Chang Dong said that it is the most important point for revealing the invisible beauty so that the audience could feel the unseen beauty through the . Discussing about how to find beauty that is not only visible but also invisible through the main character Mi-ja from the film, who makes a decision and reactions on her daily life by her perception that are difficult for others to take same. The film tells that how Mi-ja's ideal of a beauty can be taken the role for writing a poetry at the moment of the dead poet society, making a movie in the age of dying emotion and also when it lost fundamental values and about movie media. This study analyzed the performances of the main character Mi-ja in the film, and actress Yoon Jung Hee based on Director Lee Chang Dong's directed performance. The audience will be self-questioning and reflecting their life through the Mi-ja's an unidentifiable characteristic which something that someone cannot say, something that someone cannot express, something that tells something through Mi-ja's poem and actress herself finds the character's feelings.

• Journal of English Language & Literature
• /
• v.64 no.2
• /
• pp.299-305
• /
• 2018

Near / Miss, Charles Bernstein's poetry collection, is replete with poems of distinctive styles and pluralistic forms in his idiosyncratic and artistic cosmos. With poetic antics, queerness, sarcasm, irony, and humor, the book showcases the motif of loss, chaos and trauma in postmodern America and the world. The multiplicity and multi-dimensional $M{\ddot{o}}bius$ effect in Near / Miss echo earlier Bernstein's poems, as well as poems by ancient and contemporary poets, with visual artists and musicians, and rabbis and Jewish philosophers. I argue that Near / Miss offers an apotheosis of echopoetics, which has been launched in his previous book Pitch of Poetry. Poems in the book reveal the dark and thick "pitch," namely the queer, the uncanny, the invisible, the disabled, the dispossessed, and the silenced poetic Other and make it explicit. The estrangement and alienation of $clich{\acute{e}}$ through diverse malaprops, mondegreens, non-sequiturs and fragmentations in Near / Miss aim at deconstructing the fixation of language so as to display the poetic Other. The motif of "nothingness" in echopoetics significantly multiplies its meanings. Nothingness mainly refers to the loss of origin, the defiance of tyranny, and the sublimity of the universe and the poetic Other. Melding his personal loss and misfortune, the current political discontent and the postmodern chaos in America and the world, nothingness in echopoetics resonates with American literary tradition and Zen with a healing and transforming power.

• Journal of English Language & Literature
• /
• v.55 no.3
• /
• pp.497-515
• /
• 2009

Culture as a source of identity, as Edward Said says, can be a battleground on which various political and ideological causes engage one another. It is not mere individual cultivation or private possession, but a program for social cohesion. Sensitively aware that a national culture should be independent from Europe, Walt Whitman enacts a new form of literature by placing different cultural values against Old World tradition. His interest in autochthonous culture originates from his deep concern about national consciousness. He believes that literary taste directed toward highly-ornamented elite culture is an obstacle to cultural unification of a nation. In order to represent American culture of the common people, Whitman incorporates a lot of cultural material into his poetry. Since he believes that America has many respectable writers at home, he urges people to adjust to their own taste instead of running after foreign authors. Whitman differentiated his poetry from previous literary models by disrupting the established literary norms and reconfiguring cultural values on the basis of American ways of life. In his comment on other poets, he concentrates on the originality and nativity of poetry. By claiming that words have characteristics of nativity, independence, and individuality, he envisions American literature to be distinguished from British literature in literary materials as well as in language. Whitman s language is composed of a vast number of words that can fully portray the nation. He works over language materials in two ways: reterritorialization and deterritorialization. Not only does his literary language become subversive of the established literary language, but also makes it possible to express strength and intensity in feeling.

• Journal of Korean Classical Literature and Education
• /
• no.34
• /
• pp.149-191
• /
• 2017

This study examines Korean language translations of traditional Chinese hansi in the 1910s and 1920s. In the $20^{th}$ century, many poets translated Chinese and Korean traditional hansi into Korean. In the early $20^{th}$ century, Korean language began to be used as a national public language. At that time, not only hansi but also poetry from several other languages had been translated into Korean. Choi Nam-sun in the 1910s and Kim So-woel, Kim Eok, and Lee Kwang-su in the 1920s translated Chinese traditional hansi, focusing on famous Dang dynasty poetry from Tu Fu and Li Bai, etc. Choi Nam-sun's translation in the 1910s aimed to consider poetry as a written literature. On the contrary, Kim So-woel, Kim Eok, and Lee Kwang-su believed that Korean modern verse literature should be songs as well as poetry, and their translations in the 1920s aimed to create songs as spoken literature by focusing on orality and universality. Though Korean is now the language, the literary history of hansi continues in modern poetry.

• Journal of English Language & Literature
• /
• v.57 no.2
• /
• pp.191-215
• /
• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• Cross-Cultural Studies
• /
• v.44
• /
• pp.211-237
• /
• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.

• Journal of Korean Classical Literature and Education
• /
• no.39
• /
• pp.221-246
• /
• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• Korean Architects
• /
• s.566
• /
• pp.18-19
• /
• 2016