• Journal of the Architectural Institute of Korea Planning & Design
• /
• v.34 no.8
• /
• pp.77-86
• /
• 2018

The purpose of this study is to examine the condition of the architectural location and the history of Yeongbojeong and investigate the motivation which formed the YuSik space and the poetical circles of it. And another purpose of the study is to discover how Yeongbojeong, located in a military camp in Western coast, displayed the poetic scenery so to be the poetic summer house among so many Nujeongs in Joseon. Yeongbojeong is currently located in Soseong-ri, Ocheon-myeon, Boryeong City, Chungnam. Yeongbojeong has the biggest size among all the summer houses in the country with 24 architectural rooms. And Yeongbojeong is not only the summer house in which people could simply see its scenery, but beyond the poetic space of Joseon, it was the unique poetic summer house which enables poets and calligraphers to enjoy imaginary freedom. The time range of the study was from the building of Yeongbojeong in 1504 to its demolish in 1901, and its space range was taken focused on the particular scenery which was seen from around Yeongbojeong. To investigate the architectural aspect of Yeongbojeong, the existing records about the summer houses, "OcheonGoonJi" and the landscape paintings etc. were referred. The travel records and poems in the work collection of the famous poets who explored Yeongbojeong were referred to examine the formation of the Yeongbojeong poetical circles. The result of the study shows the process that Yeongbojeong had become the famous national place with scenery and how it became the most visited YuSik space. And this study figured out the full account of Yeongbojeong poetical circles which had been formed by so many poets of the country for 4 hundred years.

• English & American cultural studies
• /
• v.14 no.2
• /
• pp.207-232
• /
• 2014

Scholars have considered Chaucer's House of Fame mostly as an ars poetica, in which the poet explores new poetic principles and subject matters, while making few attempts to understand the poem in its historical and social contexts. Investigating the nature of the "tidings" that Chaucer suggests as the new source of his poetic inspiration, this paper argues that the house of Rumor was modeled after late fourteenth century English society that experienced increased appetite for news. The political upheaval during the period from the English Rising in 1381 to the reign of Henry IV in the early fifteenth century produced an unprecedented amount of written and oral propaganda. The proliferation of seditious rumors as well as protests and promulgations during this period indicates how seriously medieval society was engaged with the circulation of news. Particularly, the case of John Shirle in 1381 and the legend about the survival of Richard II demonstrate the subversive power of medieval rumor that often served as a political discourse with which people expressed their oppositions to government. Conspicuous in the activities of both the government and late medieval political protestors was the extensive use of writing. The posting of bills in public places continued until the fifteenth century, when such activities became so common and dangerous that the government had to issue proclamations forbidding the circulation of such seditious writings. The number of extant royal proclamations, written protests, and pamphlets demonstrates that already in the late fourteenth and fifteenth centuries the notion of a discursive public space began to emerge. Whether written or orally transmitted, news and rumor circulated in late medieval England, creating a social space in which people shared their political opinions before the introduction of the early modern print culture. In The House of Fame Chaucer calls attention to the subversiveness of rumor, its potential as a public discourse, and the power of written communication in creating truth in order to appropriate these characteristics for his English poems.

• Journal of English Language & Literature
• /
• v.55 no.2
• /
• pp.293-314
• /
• 2009

Leslie Marmon Silko's Storyteller does not belong to a typical category of books, for it looks more like a family album with photographs, poems and Pueblo narratives as well as short stories authored by her. This 'book' without any chapters defies a traditional concept of books we are familiar with. In addition to refusing to be labelled as a conventional book, I argue, Storyteller defies the tradition of Western personal writing in that it shows the collective power of stories. That is, stories have the collective power which is impersonal beyond personal, internalized identity. It does not mean, however, the collective power comes from groups rather than individuals. It is not the conventional opposition of group and individual but that of group and collectiveness that matters here. I draw a distinction between group and collectiveness on the ground that the former actually groups individuals into categories with which individuals identify themselves. It is not group but collectiveness where stories find their power. "Storyteller," the first of eight short stories in the book, tells the story of an unnamed protagonist, a Yupik Eskimo girl, who takes revenge of her parents who died after drinking poisoned alcohol sold by a white storeman. There are four layers of stories in this short story. The first one is the old man's story of a blue glacier bear; the second one is a revenge story of the Yupik girl; the third one is a story told by the girl to the attorney after being arrested for the death of a storeman. And the final one is the story told to us by Silko, entitled "Storyteller." Although the structure of story within story resembles a technique of metafiction at a glance, it surely is a characteristic of Pueblo narratives in general, according to Silko. This kind of stories within stories refers to the collective power of story which, like a spider's web with many little threads radiating from the center and crisscrossing one another, is also a characteristic of stories on the Web today.

• (The)Study of the Eastern Classic
• /
• no.49
• /
• pp.261-295
• /
• 2012

In the past, 'Samcheong-Dong'(三淸洞) was the most beautiful place in Seoul. So this place appealed to everyone. Regardless of their position, people of all age and both sexes wanted to go Samcheong-Dong. And in Samcheong-Dong, the temple of Taoism(道敎) that named Sokeokseou(昭格署) hold ritual to Heaven. Many poets wrote poem about this temple. As a result, Samcheong-Dong has the aura of the sacred mood. Because of the breathtaking landscapes, many people meet in Samcheong-Dong, and hold the poetry club. Not only the upper ten, but also the middle class people composed poems and published many books of poem. The image of Samcheng-Dong that our contemporaries must remember is the next three distinctive qualities. In the first, the Korean unique temple of Taoism was located in Samcheong-Dong. Secondly, the house of royal family and the upper ten was adjacent to Samcheong-Dong, so this place has the aura of high culture. Thirdly, many poem was created in Samcheong-Dong, so this place leave a masterpiece of middle class that will go down in literary history.

• (The)Study of the Eastern Classic
• /
• no.35
• /
• pp.447-470
• /
• 2009

"Haerincheokso" is a collection of 279 letters, including the last one Gong Heon-gyeong sent to Lee Sang-jeok in 1865, which were sent by 61 people from 1830. This study examined the career and activities of each of the 61 senders based on their personal details. First, it was found that the senders had special relationships with Lee Sang-jeok. One of them, for example, published "Eunsongdangjip", a collection of poems written by Lee Sang-jeok. Second, many of the senders were from Jiansu Province, Shanxi Province and Zhejiang Province. Third, more than 50 percent of people Lee Sang-jeok had a friendship with were outstanding intellectuals who were Jinsa or Geoin. Fourth, all of the senders except for a monk and the owner of a ginseng shop did vigorous cultural activities in Yanjing at the time. If the reader read "Haerincheokso" based on information above, he will be able to reduce mistakes of misreading the book. Furthermore, the book offers some materials necessary to grasp the cultural exchanges between Korea and China in the 19th century.

• Journal of English Language & Literature
• /
• v.55 no.6
• /
• pp.1035-1056
• /
• 2009

Korean adoptee narratives have proliferated over the last ten years as adopted Koreans have begun to represent their own experiences of violent dislocation, displacement and loss in various forms of literary and artistic works, including poems, autobiographical works, novels, documentaries and films. These narratives by Korean adoptees have intervened in the current diaspora discourse to question further the traditional categories of race, ethnicity, culture and nation by representing the unique experiences of the forced and involuntary migration of adopted Koreans. For a long time, the adoption discourse has been mostly constructed from the perspectives of adoptive parents. Therefore the voice of adoptees as well as that of the birth mothers have not been properly heard or represented in adoption discourse. According to Hosu Kim, the U. S. adoption discourse, feeling pressured to deal with the stigma of the commodification of children, changed from viewing the adoptees as children who had been rescued from poverty and abandonment to considering them as a gift from the birth mothers. With the emergence of the gift rhetoric in transnational adoption, the birth mothers erased from adoption discourse have begun to be acknowledged as one of the central characters in the adoption triad. If Korean adoptees are the "the ghostly children of Korean history," the birth mothers are their "ghostly doubles" who "bear the mark of a repressed national trauma." Somebody's Daughter represents the female experiences of becoming an adopted child and of being a birth mother. In particular, the novel makes a birth mother, the forgotten presence in adoptee narratives, into a central figure in the triangular relationship created by international adoption. The novel historicizes the experiences of a Korean adoptee growing up in America as well as those of a mother who had suffered silently from feelings of unbearable loss, guilt, grief and from unforgettable memories. In addition, narrating the birth mother's story is a way to give humanity back to these forgotten women in Korean adoption history. Revisiting the site of loss both for a mother and a daughter through the novel is an act of collective mourning. The narratives about and by Korean adoptees force Korean intellectuals to reflect seriously upon Korean society and its underlying ideology which prevents a woman from mothering her own baby, and to take an ethical and political stand on this current social and political issue.

• The Journal of the Convergence on Culture Technology
• /
• v.8 no.5
• /
• pp.489-495
• /
• 2022

It makes difference to LSTM D/L(Deep Learning) results for language model construction as the corpus preprocess changes. An LSTM model was trained with a famouse literaure poems(Ki Hyung-do's work) for training corpus in the study. You get the two wordvector sets for two corpus sets of the original text and eraised word ending text each once D/L training completed. It's been inspected of the similarity/analogy operation results, the positions of the wordvectors in 2D plane and the generated texts by the language models for the two different corpus sets. The suggested words by the silmilarity/analogy operations are changed for the corpus sets but they are related well considering the corpus characteristics as a literature work. The positions of the wordvectors are different for each corpus sets but the words sustained the basic meanings and the generated texts are different for each corpus sets also but they have the taste of the original style. It's supposed that the D/L language model can be a useful tool to enjoy the literature in object and in diverse with the analysis results shown in the study.

• International journal of advanced smart convergence
• /
• v.11 no.4
• /
• pp.206-215
• /
• 2022

For a long time, traditional culture has been regarded as one of the sources of the inspiration, method and language of Chinese writing. In this article, we studied the medium- and long-term impact of a traditional Chinese culture seminar attended by college students on the output of creative writing. The seminar included traditional Chinese philosophy, history, literature, art, etc. It spanned three years (22 months) and held lectures lasting for approximately two hours once a week. The subjects of the prospective cohort study included 130 first-year college students who participated in the seminar and 130 controls. From September 2016 to June 2018, 72 lectures were held. We measured the creative writing output from the first lecture (September 2016) to December 2021 (64 months in total), including novels, essays, poems, and plays. Two indicators, the total number of words (TNW) and the quality of yield (QY), were evaluated by a 15-member panel. Although the TNW and QY of the participants and their controls were similar before the seminar, we found that the participants have higher TNW and QY than the controls after participating in the seminar. The difference in TNW became significant after month 51 (p<0.05), and the difference in QY became significant after month 46 (p<0.05). After these dates, the differences stabilized. In addition, text analysis indicates that by month 64, traditional cultural elements in the works of the participating group had a higher frequency (p<0.001). The research shows that the traditional culture seminar not only enhanced the yield of college students' creative writing but also improved the quality of their work. The traditional cultural elements enriched the works of the seminar participants.

• Journal of English Language & Literature
• /
• v.56 no.5
• /
• pp.797-821
• /
• 2010

This paper aims to explore how Millay's love sonnets rewrite the carpe diem tradition in the complicated ways. This paper redirects critical attention away from Millay's individual experience and inner self toward the scene of literary history, suggesting that there may be more historical consciousness in Millay's sentimental and feminine "gesture." Rewriting the carpe diem tradition, Millay's sonnets reveal an awareness of the dependence of the carpe diem poems' discursive logic on the woman's coyness, its inability to accomplish its triumph over woman or time (death) without her posited reluctance. Contrary to Andrew Marvel's "To His Coy Mistress," the speakers of Millay's sonnets could never be accused of the sexual coyness; they are outspoken in their defiance of both death and lovers whose possessiveness resembles death's embrace. Moreover, as Stacy Carson Hubbard points out, by converting female sexual experience from its status as a onetime closural event to repeatable one, hence an opportunity for the general and emotional irritability productive of narrative, Millay seizes for the woman the power of "dilation" in both its sexual and its verbal forms. Furthermore, this paper argues that the woman's sex no longer invites analogies to things secret and sealed, preserved or ruined in Millay's sonnets. The woman's promiscuity implies a rejection of monumentalizing love, as well as a refusal of the fixing inherent in the carpe diem's fearful invocation of the movement of time. Throughout the love sonnets, the speaker's sexualized body produces nothing but ephemera. For Millay, this body spends its powers in hopes of having them, and the force of this spending is a perpetual and willful forgetting, which makes possible the repetition of love's story. Ultimately, Milly disturbs our critical categories by rendering permeable boundaries between modern literature and dead form of classic literature, the female speaker and male speaker.

• Journal of the Korean Institute of Landscape Architecture
• /
• v.37 no.2
• /
• pp.90-103
• /
• 2009

The poem 'Kyungjusipiyung(慶州十二詠)' written by Seo, Geo-jeong(徐居正) describes sentiments felt for the ruined historical and cultural landscape of Silla's capital city, Kyungju. It differs from the existing 'Eight Sceneries(八景)' as it conveys the strong metaphorical aesthetics of ruins as the episodes and figures are sung, as well as the myths and stories related to the representative holy places of the Silla culture: Gyelim(鷄林), Banwolseong(半月城), Najeong(蘿井), Oneung(五陵), Geumosan(金鰲山), the scenic beauty of deep placeness, Poseokjeong(鮑石亭), Mooncheon(蚊川), Cheomseongdae(瞻星臺), Boonhwangsa(芬皇寺), Youngmyosa(靈妙寺) and Grave of the General Kim Yu-Sin(金庾信墓). Compared with the former "Eight Sceneries" Poems, including Seo Geojeong's 'Kyungjusipiyung', there is a difference in the content of theme recitation, as well as in structure and form, especially with the deep impression of the classical features of the meanings and acts. The sequence of theme recitation seems to be composed of more than two visual corridors visited during trips that last longer than two days. The dominant emotions expresses in this poem, through written in the spring, are regret and sadness such as 'worn', 'broken and ruined', 'old and sad', without touching on the beauty of nature and the taste for life that is found in most of the Eight Sceneries Poems. Thus, the feelings of the reciter himself, Seo, Geo-jeong, about the described sceneries and their symbolism are more greatly emphasized than the beauty of form. The characteristic aspect of his experiences of ruins expressed from 'Kyungjusipiyung' is that the experiences were, first of all, qualitative of the aura conveyed; that is, the quality omnipresent throughout the culture of Silla as reflected in the twelve historical and cultural landscapes. In this poem, the cultural ruins of the invisible dimension such as the myths and legends are described by repetition, parallelism, juxtaposition, reflection and admiration from the antiphrases, as well as the civilized ruins of the visible dimension such as the various sceneries and features of Kyungju. This seems to be characteristic of the methods by which Seo, Geo-jeong appreciates 'Silla' in the poem 'Kyungjusipiyung'. Ruins as an Aesthetic Object imply the noble pride of Seo, Geo-jeong in identifying himself with the great nature of ruins. In 'Kyungjusipiyung', the images of the ruins of Silla and Kyungju are interspersed in spite of his positive recognition of 'the village of Kyungju' based on his records. However, though the concept of ruins has a pessimistic tone connoting the road of extinction and downfall, the aspect here seems to ambivalently contain the desire to recover and revive Kyungju through the Chosun Dynasty as adominant influence on the earlier Chosun's literary tide. The aesthetics of the scenery found in Seo, Geo-jeong's 'Kyungjusipiyung' contain the strongest of metaphor and symbolism by converting the experiences of the paradoxical ruins into the value of reflective experiences.