• Cross-Cultural Studies
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• v.33
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• pp.33-52
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• 2013

Haizi, who ended his life with suicide on the railroad at the age of 25, is a poet who implemented his unique poetic world alone without belonging to any of the existing Chinese poetry schools in the 1980s. The process that Haizi reveals self-inside through a poetic work is rather to hide self-inside paradoxically, too. Accordingly, even a work of figuring out the real intention, which is hidden in poetic dictions that he selected, will be meaningful. In this sense, this study tried to inquire into the poetic imagination and self-image that were revealed in poetry focusing on "Spring, Haizi of 10 People", which is a work of having his name as topic, with having been written at the time of suicide, among Haizi's many poetic works. In addition, it figured out Haizi's private conscious world through analyzing the poem titled "Facing the sea with spring blossoms", which was created ahead of death same as "Spring, Haizi of 10 People". Thus, the aim was to look back on significance of his death and to broaden the width of understanding about Haizi's poetry. As for Haizi, the death can be regarded as the completion of 'performance,' which is a kind of Haizi's own final art form. Hence, Haizi's suicide needs to be seen from the perspective dubbed the continuity of creation through this performance, not the discontinuance of creation caused by 'intended death' that the poet himself selected. In the wake of pursuing the poetic world of a gifted poet Haizi, who died early, that this study examined, there will be any poet of Korea who is recalled naturally. One poet will be first recalled Yi Sang, who is a poet and a novelist of having been broadly known. Another poet is overlapped Gi Hyeong-do, who had been active as a poet and a journalist of having been dead after living in the similar period to Haizi. A comparative analysis among works by these Korean and Chinese poets has similarity beyond the temporal space. A research on this is thought to have value of being considered a little more deeply and generally hereafter. Still, this study mentioned only possibility of a comparative research on this.

• English & American cultural studies
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• v.18 no.2
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• pp.79-104
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• 2018

Chung Ji Yong is a well-known poet in the Japanese Occupation Period firstly as a lyrical and traditional poet as a member of the literary journal Simunhak(Poetry Literature) along with Park Yong Chul and Kim Young Rang and later as a prominent modernist poet in the late years of the Period. He is always highly estimated as a poet of pictorial images and lyricism, but his ardor for translations, especially Walt Whitman has been neglected so far. Before him, Ju Yohan, Yi Kwang Soo, Yi Un Sang, Kim Hyung Won and many other poets and critics had been interested in Whitman's democratic ideas and his poems. Chung Ji Young also translated Whitman's three poems in the hard days of 1930s. After the Imperial Japan surrendered to the Allied forces on 15 August 1945, ending 35 years of Japanese occupation, Korea was under the American forces and Russian troops. In this critical days of Korean's debating only one korea or separated Koreas, strangely enough, Chung ji Yong fully immersed in translating Whitman's poems only for four years as an English literature professor just before being abducted by North Korean Army, while almost discarding his own poetic ability and sense of duty as a leading poet in the literary circle with only just a few exceptions. Why did Chung Ji Yong focused on the translation of Whitman's poems in this important period as a poet and intellectual in the newly independent country? He may want to warn people too much ideological conflicts or at least express his frustration through translating Whitman's poems. Until now, academic endeavors on Chung Ji Yong's poems and life are focused on his lyrical and modernistic works of the Japanese Occupation Period and naturally little interested in the days of Independence period and his true motivations on translating Whitman's poems. As a proposal, this short article can be a minor trigger for the sincere efforts of Chung Ji Yong's last days.

• Sijohaknonchong
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• v.42
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• pp.213-238
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• 2015

Jeongun(丁芸) Lee, Young-do (李永道), who is deemed a representative female poet of Korea, began her literary career in May, 1946 when she published in a publication called "Bamboo Sprout, (죽순)". Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work, and she remained a quintessential figure in Korea's female sijo poet circle for 30 years until her passing in 1976. Despite the highly acclaimed talent and her noble aspirations, it is undeniable that her works did not receive fair assessment due to her private life. Against this backdrop, it is necessary to deeply inquire the literary values and beauty of Young-do Lee's sijo. As mentioned, Young-do Lee is a solidly established figure in Korea's modern poetry. The following illustrates the spirit and the world of her poetry. First, Young-do Lee lived through turbulent times and it was her country that served as the source of her sijo work. Assessing the multitude of dramatic historical events such as Japanese colonization, 8.15 Liberation of Korea, division of the nation, 6.25 Korean war, 4.19 Revolution, 5.16 military coup, it is natural that patriotism was strongly present in her work who was one of the intellectuals at the time. Second, Young-do Lee is a poet who had experienced more pain than others in terms of the turbulence of the time. Her Korean identity, which was formed through her Confucius upbringing as well as traditional value system of her family, had a strong presence in her work. Third, Jeongun Lee, Young-do is a poet of longing. The abundance and richness of her emotions were fortified through the relationship with another poet, Chihwan Yu. Fourth, Young-do Lee is a poet opened up new horizons for the modennization. The transparency of image reflected in her work and the elaborate nature of her language are outstanding. In summary, Young-do Lee was a true artist, who has a strong presence in Korea's modern poetry society, and who was a poet of patriotism, poet who suffered the turbulence of the times, and a poet of longing.

• Lingua Humanitatis
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• v.1 no.1
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• pp.185-194
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• 2001

In this paper, I propose that the figurative structure of Tongjoo Yoon′s "One Night, Counting the Stars" reflects the poet′s anguish over the colonial reality of Korea in the later stages of the Japanese occupation, especially regarding the forced adoption of Japanese names in 1939. The poet Yoon himself registered at Yonhi College with an adopted Japanese name. In the second half of the poem, the speaker alludes to this historical fact when he confesses that "On a hill lit by myriads of stars / I spelled my name / And covered it over with dirt," and that he "laments (his) shameful name." In the simile of the last stanza, the speaker continues to allude to the "buried" name: "But past winter, come spring to my star, / As green grass sprouts on a grave mound, / So will it spread with pride / On the hill where my name is buried." The longing and the yearning, expressed so simply and in child-like manner in the first half of the poem, become in the second half an urgent need for something that should have been but cannot be, and yet will be in the future-for a world that should be, now lost but to be regained. The poem contains the poet′s earnest belief that the inherited Korean names that were then so shamefully taken away will one day be recovered. It is almost impossible to find any other work written in Korean (despite the most suppressive measures against the use of the Korean language) that also alludes to the adoption of Japanese names. In this respect, "One Night, Counting the Stars" has a unique value in the history of modem Korean literature.

• The Journal of the Convergence on Culture Technology
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• v.6 no.4
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• pp.31-37
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• 2020

This study examines the way poetry text is inserted in dramas and the way poets represent themselves through the drama "The climax" (2011). The drama features Lee Yuk-sa, a poet and independence activist, as a central figure and chooses a narrative structure that follows his life. The drama maximizes the lyricity and visual beauty of the drama by inserting his poems with fantastic images at the most dramatic moments of the poet's life. The image presented with the poem maximizes Lee Yuk-sa's intense hardship, while portraying the poem as a crystal of this hardship. Thus, the drama "The climax" uses Lee Yuk-sa's poetry to visualize the inner world of the central character Lee Yuk-sa. Lee Yuk-sa's poems are used in conjunction with his image to simultaneously represent the beauty of poetry and the upright spirit of the poet. This is the result of a balanced portrayal of Yi Yuk-sa, a poet and independence activist, as an intellectual who acts. The drama "The climax" is the main text that sincerely performed the representations of poems and poets through video.

• Journal of the Speleological Society of Korea
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• no.79
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• pp.17-30
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• 2007

Gossi-cave, which is Natural monument No. 219, originally was called Norigok-cave, but happened Imjin-Japanese war, aborigine and Gossi family took refuse to Norigok-cave. Japanese soldiers set fire to this cave, in result lots of people had been died. And then, this cave was called Gossi-cave because Gossi family only survived during the war. Stalactite, Stone pillar that was created from four hundred million ago Harmonized with the others. The length is 6.3km in 1969.6.4. this cave was appointed natural monument as a result of investigating Korean Speleological Society. Kim SaKat a Master Poet(1807-1863) : A Genius with wit and eccentric conduct, a poet who wrote a refined poems with his own dramatic path of life destructed the format of Chines poem and created a new folk literature. He is Kim SaKat - a wizard of poet Kim Sakat - a poet wearing conical bamboo hat. Kim Sakat was born in 1807, in the latter part of Chosun period, his antonym was Kim Byung-Yun. He passed the state examination in the first place when he was 20. Two years later, he set out his life as a wanderer when he realized his winning composition was a criticism on his grandfather.

• The Journal of the Convergence on Culture Technology
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• v.5 no.3
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• pp.185-190
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• 2019

Historically, the representation of the colonial period has responded closely to the policies and political conditions of the time. The Korean blockbuster , which links the genealogy of Manchuria Western, adopts a safe nationalism frame, upgrading the genre's narrative typology to colorful action and spectacle, including the Japanese army, the Liberation Army, the good and evil, and the confusion of identity. On the other hand, , which deals with the friendship of the poet and the warrior, treats the mental and internal struggles implied by the power of poetry, without resorting to familiar nationalism and heroism. is a thorough genre of rules. If the visual and sensual pleasures of imaginative resilience beyond the bounds of the law are provided within the Rules, inevitably seeks resistance within the colonial empire's legal system. Political, diplomatic, and economic conflicts between Japan and Korea, which have been continuing until recently, reaffirm the framework of nationalism on the screen.

• Journal of Trauma and Injury
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• v.35 no.3
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• pp.145-150
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• 2022

This paper aims to summarize why I write, how to find a motif, and how to polish and finish a manuscript. For William Carlos Williams, practicing medicine and writing poetry were two parts of a single whole, not each of the other. The two complemented each other. Medicine stimulated Williams to become a poet, while poetry was also the driving force behind his role as a doctor. Alexander Pope, the 18th century English poet, wrote a poem entitled "The Epistle to Dr. Arbuthnot" that was dedicated to a friend who was both a poet and a physician. In this poem, we receive an answer to the questions of "Why do you write? Why do you publish?" Pope writes, "Happy my studies, when by these approv'd! / Happier their author, when by these belov'd! / From these the world will judge of men and books." When I write, I first reflect on whether I only want to write something for its own sake, like "a dog chasing its own tail," instead of making a more worthwhile contribution. When my colleagues ask me, "Why do you write essays as well as scientific papers?" I usually answer, "Writing is a process of healing for me-I cannot bear myself unless I write." When the time comes to sit down and put pen to paper, I remind myself of the saying, festina lente (in German, Ohne Hast, aber ohne Rast, corresponding to the English proverb "more haste, less speed"). If I am utterly exhausted when I finish writing, then I know that I have had my vision.

• Archives of Plastic Surgery
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• v.48 no.4
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• pp.345-346
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• 2021

• English & American cultural studies
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• v.14 no.1
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• pp.169-191
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• 2014

This explores an African American male poet, Etheridge Knight, and his poems. He died in 1991 and had been wounded in the battle field during the Korean War (1950-1953). Particularly, engaged in the war as a boy soldier, due to his wound, he had turned to a drug addict. Despite his experience in the war, Knight didn't write poems much about the war and wartime experience. Rather than war experience, for Knight, the prison gave him a strong motivation to be a poet with Gwendolyn Brooks' help. Further, Korean scholars are not familiar with contemporary African American poets, and my study is an introduction of those poets. Since in Korea researches on African American poets have been relatively rare, it is needed to sincerely work on those poets. The none-white writers, above all, penetrate the undercurrent of canonized American poets and poems. By examining Knight's poems, I eventually align a notion of the ethnic with racial minorities in the U. S.