• Journal of Korean Society of Rural Planning
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• v.20 no.3
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• pp.155-163
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• 2014

This study aimed to identify orientations for the development of the community by establishing desirable aesthetical environments and reorganizing the residents' communal way of life through the implementation of village art projects. To investigate how the implementation of village art projects influence community and communication, the author analyzed changes in walls made by the implementation of actual projects in Anhyeon Village in Gochang, Dongpirang in Tongyeong, and Byeolbyeol Village in Yeongcheon. The community was analyzed from the view points of locality, communal ties, and communication. The results showed that Anhyeon Village in Gochang expressed its locality with chrysanthemum, poems and local figures. Similar walls were built across the village to strengthen ties among the residents, and portraits used as doorplates represented communication among them. Various paintings of seas, flowers, and poems were seen in Dongpirang in Tongyeong, which were thought to be representations of its locality and the friendliness of hometown in the less favoured area. Wall paintings played pivotal roles in this village to impart to the residents essentials that should be kept to eliminate inner walls in their minds and ensure open communications. In Byeolbyeol Village in Yeongcheon, locality was presented with common farm village landscapes in various materials, patterns and formativeness. Village-wide reinforcement contributed to strengthening ties in the community rather than forming boundaries against outside worlds. Cultural and artistic elements structured mental walls that made people not aware of the presence of physical walls.

• The Journal of Korean Association of Computer Education
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• v.5 no.4
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• pp.99-109
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• 2002

The purpose of the research undertaken for this paper was to demonstrate the effects of WBI on students' achievement and their reactions. WBI was adapted for use on the lesson Theme of Poems in Korean textbook for Middle School second graders. Hypothesis 1 was that there would be meaningful differences in students' achievement between the experimental group using WBI and the controlled group in a traditional instructive class. And the statistical calculations showed that the experimental group produced larger numbers in terms of both the average and standard deviation. Hypothesis 2 was that there would be the more highly rated outcomes from the experimental group applying WBI for students' interest, understanding, and concentration. The responses to a Questionnaire concerning stated items showed significant differences in favor of WBI class. Based on these analyses, this thesis represents an effort to potential application of WEI to learning of Poems, in light of research evidence that reveals its respective effect to further students' achievement and interest.

• 한국HCI학회:학술대회논문집
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• 2008.02b
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• pp.582-586
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• 2008

MeLuhan's work has enormous power in the study of media theory. In Lee-Sang's works, we can find out the Macluhan's idea, "tactile" writing, which enhances more than one single sense, we-Sang's pieces, viewed as the origin of Korean concrete poetry, are being reconfigured in modern times. After publication, Lee-Sang's esoteric and complicated poem was considered as the result of schizophrenia. However, in the reconfiguring process, his continuously issued poems were reconsidered as a fraction of visual arts and analyzed as the substances of Korean dadaism and an attitude to challenge. But the real importance of Lee-Sang's poem is the extension of a sense; his poem is unbiased either by visual part or by emotional part, though one sense is extended to another sense. Now you will see the reinterpretation of we-Sang's world from the viewpoint of media, 'extension of senses'.

• Cross-Cultural Studies
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• v.40
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• pp.61-90
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• 2015

The imagery of Ophelia appeared in Russian literature in the middle of the $19^{th}$ century. In contrast with Hamlet, whose name had been always in the center of the most intense debates through centuries, Ophelia had been understood relatively monotonously and simply associated with the images of a chaste maiden, a tragic heroine and a devoted lover. Only after the feminist literary criticism shed new light on the complicated inner world of the young girl, the imagery of Ophelia radically changed, and now it is not difficult to encounter various Ophelias on the contemporary stages and culture. In this paper we study the remarkable changes of the imagery of Ophelia in Russian modernism poetry, analysing A. Blok, A, Akhmatova, M. Tsvetaeva's Ophelia poems. Ophelia in Russian modernism, on the one hand, succeeding to the traditional view on Ophelia in $19^{th}$ century, assumes interesting new aspects, sometimes preempting feminist point of view.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.315-335
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• 2009

Controversies over W. H. Auden's "political" poetry remind us of an old but perhaps never easily resolved problem about the relationship between poetry (literature) and politics. Auden has arguably been referred to as a "leftist" or "Marxist" because of his political viewpoint registered in "Spain" or "September 1, 1939," which embodies his contemporaries' loss and fear, brought by the socio-political turmoil, economic depression, and moral conflicts of the 1930s. Interestingly, however, Auden is known to have an ambivalent position toward the political reality. He once disavowed the above "political" poems as "dishonest" in the preface of the 1966 edition of Collected Poems and declared, "poetry makes nothing happen" in "In Memory of W. B. Yeats," which seemingly acknowledges the political incapacity of poetry. Auden's position and poetry should be understood as the result of complicated interactions between his perspectives on society, human beings, and poetics. Auden definitely believed in the role of poetry in such a politically demanding time, yet was not concerned with the anticipation of certain immediate changes effected by poetry in real situations. Instead, he sought the intellectual and moral effects that poetry could give his readers to help them survive the dismal circumstances of the 1930s. This is what distinguished Auden's poetry from political propaganda. In doing so, Auden's poetry captures the zeitgeist of his generation and has privileged him as the leading voice of his time, but it has also encouraged the following generations to confront different socio-political difficulties. This is something poetry can make happen politically, and the survival of Auden's "memorable speech" proves the legitimacy of his frequently misunderstood poetics.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.714-726
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• 2022

The purpose of this paper is to find out the way of utilizing phrases of Chinese poetry in Manjeongje and its musical characteristics. To this end, the roles of phrases contained in the Pansori words were classified into five patterns: landscape description, strengthening of pleasant emotions, strengthening of sad emotions, wordplay, and combination of various poems. As a result of analysis, phrases quoted in sad mood part consist of slow rhythm of Jinyangjo and Jungmori, and sad melody of Gyemyun-gil and Jingyemyun tone; thus, both the rhythm and melody are expressed in accordance with the mood of poems. On the other hand, the melody in the landscape description parts, and the rhythm in the joyful feeling and wordplay parts showed the characteristics of determining the mood. In addition, when applying the analysis results to the perspective of Pansori composition, it is necessary to discover novel texts, apply to editorials, and study musical implementation suitable for the original mood in order to create more artistic Pansori.

• The Journal of the Convergence on Culture Technology
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• v.8 no.6
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• pp.89-96
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• 2022

This study examines the strategy of delivering the drama's poet Kim Soo-young and his literary works to the public through the drama (2004). This drama shows Kim's inner self and his literary view by inserting poems into scenes where the poet suffers internal conflict, while presenting relatively less well-known poems to broaden the public's understanding of poetry. In addition, the drama maintains viewers' interest by properly placing elements of conflict, and effectively shows how the conflict affected his life and the world of time. Therefore, the drama is a meaningful text that embodies a poet named Kim Soo-young in three dimensions along with the historical transformation and social problems of the time and the literary chapter of the time through the video.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.543-555
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• 2010

In his early poems, Wallace Stevens shows us different gestures, compared with his later poems, when he acquires reality by faculty of imagination. The former is made of ontological violence while the latter is revealed by bareness of less sensuality. However, they are the identical gestures, though from different angles, to accomplish things as they are rather than the ideas of things. In "Sunday Morning," ontological violence occurs in such epistemological couples as thought and thing, mind and world, and imagination and reality. Especially, in order to recuperate his poetic reality, Stevens undermines the traditional hierarchy between heavenly divinity and earthly divinity. In the poem, Christianity faces a critical challenge and then it is disempowered by the earthly divinity. Additionally, by disadvantaging religion, he wants to raise his poetic issue of the faculty of imagination to acquire reality. Stevens' concept of imagination is less subjective and more transcendental than Kantian one. After the ontological violence, Christian divinity and mythic gods leave ontological boundary for earthly divinity in an ambiguous way. In other words, between "Sunday" and "sunny day," the ontological conflicts haunt us throughout the poem as if the violence would happen between imagination and reality. For Stevens, both Christian divinity and mythic gods are mere obstacles to real divinity; both play a mere role of imagination before reality is revealed. Whatever reality is, imagination is always ready to draw an ontological line of reality in an ambiguous way, regardless of how long it lasts. In general, most ontological violence requires such physical remnants of conflicts as borderline, deaths, and pains which still prevail in the poem. Those ontological remnants remain to be found on earth. The sky is an abstract borderline between heaven and earth because in a sense, it belongs to both earthly landscape and heavenly sphere. Without any ontological borderline or threshold, there is no recognition of the divinity because the vitality of divinity is inflamed in continuous transgression of the other. After the final ontological conflict between heaven and earth, there remains only ambiguous borderline near the earth beside the friendlier sky.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.25-45
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• 2010

While environmental ethics, a relatively new field of philosophy, has gained its practical power in the contemporary world, the ethics of ecological poetry has not been studied well and the relationship between poetry and ethics has also been troubled for a long time. How can it be probed, interrogated, and constructed in ecological criticism? Attempting to steer some critical focus to the topic of ethics and poetic language, this essay is to elucidate these questions within the ecological traits of Mary Oliver's poems. In the process of revisiting Oliver's poems, this essay tries to rescue the poet Oliver, one of the most gifted poets in contemporary American poetic landscape, but a long-neglected one, and questions of ethics which have been evaded for a long time in ecological criticism. Oliver's ecological imagination at once invites readers to become other in the outer world in a most spontaneous way and re-questions the fundamental distance between the self and the other in the process of becoming other. Challenging the humanistic view of nature, she opens the various layers of becoming other: from the possible state of perfect merging to the sad recognition of the impossibility of merging, from the happy moment of rebirth beyond death, to the conflicting moment of being-together. In the different cycles and levels of becoming other, Oliver's poetry completes the poetics of relation in the components of 'self-in-relation.' In those different layers of relations, the ethics of ecological poetry is newly explored rather than residing in the safe net of goodness or sympathy between the self and the other, or the stark division between the two. Oliver's witty, sensitive, sometimes sad eyes toward others, therefore, entice readers to move from the established view of nature to the extraordinary moment of encountering it, thus accomplishing the ethics of beings, not just of ecological poetry.

• Journal of English Language & Literature
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• v.56 no.4
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• pp.753-772
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• 2010

The purpose of this work is to examine the viability of employing the prosody cloning technique in teaching English prosody. Ten native speakers of Korean high school students with similar level of English proficiency participated in the poem self-study experiment. Five of them were grouped into the experimental group and the remaining five into the control group. One popular English poem from a high school textbook was selected and its recording by a professional native speaker of English was used in the experiment. The members of the two groups made a recording of the poem both before and after the experiment. For the study material, the experimental group used their own recorded utterances with their prosody cloned from the professional English speaker, while the control group used the utterances of the professional speaker alone. The acoustic analysis of the recordings by the prosodic foot both before and after the experiment showed that the experimental group performed slightly better than the control group in the realization of the intensity contour of the poem. There were no significant differences in the realization of the intonation contour and segmental durations between the two groups. The recording after the experiment was also subjectively evaluated by a native speaker of English and the scores for the experimental group were slightly higher than the control group. These findings suggest that the use of English poems with the help of the prosody cloning technique is a potentially viable approach to teaching English intonation to high school students. A long-term study with more students is necessary.