• Journal of English Language & Literature
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• v.64 no.2
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• pp.273-298
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• 2018

This paper, postulating that Lowell's Imagism is not some "Amygism" that wobbles with "emotional slither," "mushy technique" and "general floppiness" as Pound once mocked, but another kind of poetic discourse that deserves the fullest re-consideration, goes back to the very scene where Pound left for Vorticism, condescendingly allowing Lowell and her supporters to use the name "Imagism" for three years. There, it tries to illuminate how Lowell, making the most of the opportunity given to her, picked up what Pound had left behind, grafted it on the soil of America, and finally fulfilled her literary passion to awaken the common reading public to the taste for poetry reading. For the purpose, it looks into her critical reviews in Tendencies in Modern American Poetry, and stresses her creative critical efforts to re-address Pound's principles of "Imagisme." In particular, given the limit of space, it focuses only on the second principle of her Imagism and examines the modernity of her concepts of "a cadence," "suggestion," and "the real poem beyond." Then it reads "Patterns" in the context of Japanese poetry and Noh drama and analyzes the poetic patterns that Lowell made through a creative adaptation of Japanese aesthetics for Imagist poetics. In doing so, this paper aims to provide reasonable evidences to evaluate the modernity of Lowell's Imagist ars poetica and to consider her a truly serious Imagist poet worthy of a place in the history of American poetic modernism.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.383-401
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• 2018

Wordsworth is a poet who thought seriously about problems of human's relation to the world as perceiving subjects. What he calls "the life of things" illustrates the enabling power of things and their vitalities at play in excess of human elements. Drawing on this, he provides insights into vital materialities that act upon, and are acted upon by, the collaborative circulation between human and nonhuman agency. This paper aims to reinvigorate the debate about Wordsworth's ethics of things in terms of such critical notions as things, objects, agency, and nonhumans in an attempt to explain what he envisions as new environmental realities built upon nonhierarchical, collaborative relationships between all participants. From the vantage point of things, we see clearly what has been neglected in the New Historicist critical method. It holds fast to the conceit that humans are entitled to have sole agential legitimacy, disregarding the vibrancy of things. They opt for the objectified matter or the (re)presented state of things. But in terms of Wordsworth's life of things, all participants have equal amounts of agency regardless of their forms and for that reason humans are expected to respect other things' sovereignty. Through encounters with things, things in their thingness show up for us, only to reveal the ineradicable rupture between themselves and their objectified forms.

• English & American cultural studies
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• v.9 no.1
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• pp.1-25
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• 2009

This paper attempts to illuminate the significance of the myth or mythical method used in The Waste Land, which Eliot adapted from Jessie L. Weston's From Rituals to Romance and Sir James Frazer's Golden Bough. While he was composing a modern epic, James Joyce's Ulysses and Igor Stravinsky's Le Sacre du Printemps made him sure that the mythical method would be the best way to make the non-relational and chaotic modern world into a work of art. Although he accepted F. H. Bradley's epistemology that one's actual experience is non-relational, he strongly put an emphasis on 'the unified sensibility' in John Donne's poetry with which a poet changes all the dissociated material into art. He also found another effective method to give the chaotic experiences an order, and to make them modern art: the mythical method in his contemporary anthropology. With the mythical method he incorporated the various barren, horrible and ugly aspects of modern world into a new unity in The Waste Land. In addition, he embraced his contemporary anthropological theory that a primitive life described in myths is a culture just different from modern culture, and heartily employed some aspects of primitive culture to make modern poetry as well as modern culture rich and exuberant.

• Journal of architectural history
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• v.31 no.6
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• pp.81-90
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• 2022

It is difficult to conduct an on-site investigation of Kaesung since it's located in North Korea. After the devastating Korean civil war we have lost a lot of authentic structures. At present, the statement of those who have seen the Kaesung during the time would be of great help in bringing out the significance of this study. According to Ma Hae-song, who was a local in Kaesung. He vividly remembered how his neighborhood looks like and he even mentioned the every single detail of his house in his essay. Moreover he also compared the traditional Han-ok in the former time from the household of other countries. There was an extraordinary interest and insight in Han-ok. This study estimated Ma hae-song's Gaesuong house based on Ma hae-song's personal and supplementary records. the contents by exchanging e-mails with his eldest son, poet Ma Jong-ki. Through the above process, it was confirmed that the writer Mahae Song's Gaeseong House was a typical wealthy merchant's house located in Donghaerang, a luxury residential area, and was engaged in commerce.

• Journal of English Language & Literature
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• v.57 no.3
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• pp.413-428
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• 2011

Compared with Cathy Song and Myung-Mi Kim, Suji Kwock Kim is yet to be known in Korea, even though she won prestigious American literary awards like the Walt Whitman Award from the Academy of American Poets and the Addison Metcalf Award from the American Academy of Arts and Letters for her debut book of poems, Notes from the Divided Country. Although she was born and raised in the United States and had little knowledge of Korean at first, she came to recognize her identity and be familiar by and by with Korean history. The knowledge of the facts that Korea had been ravaged by foreign forces and suffered from the Japanese colonization and the Korean War aches her soul, and this soul-aching is aggravated by her ancestors' direct experiences of those Korean historical tragedies. But this book of poems does not contain poems regarding Korean history alone. The first part shows her guilty consciouseness for her brother and sister, who are suggested to be physically abnormal or mentally retarded. The third and fourth parts are filled with poems of very diverse subject matters, tones, and themes. Of those poems, "Monologue for an Onion" is probably most worthy of special attention. It is not only a searing indictment for human folly but also a very intriguing poetic rendering of Nietzschean ultimate lessson. Her achievement in the first book of poems makes us eagerly wait for the second one, which is, reportedly, forthcoming sooner or later.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.429-443
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• 2010

The purpose of this article is to examine how Byron's Don Juan VII-VIII depicts the various facets of characters' minds and actions in taking attitude toward glory during wartime in Ismail, Turkey. It explores the multifaceted sides of their hidden intentions and military activities in the self-centered and ruthless battle. Byron investigates their diverse and unreasonable causes, which drive them to undertake their particular deeds while participating in the combat. He unfolds the complex, dark layers of man's motivations and acts in responding to such martial ideals as fame, honor, success, or triumph. By making an effective characterization of four major figures such as Suwarrow, Juan, Johnson, and the Turkish Khan, Byron, indeed, enriches the poem with a variety of their different conceptions and stances toward these remarkable achievements. While fighting in the same battle, they, interestingly, reveal strikingly different attitudes, especially in responding to the complex aspects of reputation, glory, war, manliness or fate. The article also considers how the two Cantos of Don Juan feature the ironic results of the characters' quest for glory, which bring about an extensive range of inhuman consequences. The poet accentuates the diverse, negative aftermaths of their illusionary, abusive pursuit of fame and honor. In doing so, he effectively utilizes figurative portrayals of brutal pictures to highlight the unanticipated boundaries and dreadful outcomes, which have been caused by the undesirable or irrational exercises of their freedom of choice in pursuing such self-centered desires and renown.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.701-725
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• 2011

This paper attempts to read "The Nightingale" as an experimental proponent of Lyrical Ballads of 1798, one that inaugurated British Romanticism. It is never accidental for this poem to come to replace "Lewti" at the last moment of publication and to be tied to the poetic principles manifested in the "Advertisement" of the 1798 volume. The speaker of this poem, for example, is an ordinary man, who presents himself as a friend and a loving father. Opting for conversational styles rather than blindly copying literary conceits, he even incorporates an evening episode he happens to recall into a legitimate subject matter. The notion of "conversation," which appears in the subtitle, offers a key to figuring out the ideal of poetic language, the figure of the poet, and compositional procedures Coleridge and Wordsworth proposed in their collaborative project. "The Nightingale" can be a dubious, if not totally failed, poetical journey to subverting an incidence of misnaming acts. He finally reaches the limits of poetic figuration in a process of textualizing nature. The leitmotif of "In nature there is nothing melancholy" testifies to the fact that the bird nightingale, which the narrator is hard at work to rename as a joyous bird, is nothing but a poetic metaphor. "The Nightingale" is more likely to be a revisional, regenerative performance based on the strategy of conversation than an embodiment of a daring novelty.

• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.27-32
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• 2018

The study chose two people, KimSamuidang(1769~1823) and GangJeongildang(1772~1832), as concrete examples representing the common female writers in the late of the Joseon Dynasty. And study the recognition on reality and consciousness of orientation in the poetic literature. KimSamuidang is commit to the revival of his family to pass the test. And exchange with husband through active study literature and practice wife law. She left the largest number of works as a female writer during the Joseon Dynasty. GangJeongildang is a Confucian scholar and poet of the late Joseon Dynasty. She also spent her whole life sewing and suffering from disease, trying to create a dying family. Teaching her husband's education, she established self-recognition, encouraged and supported learning. They had a equality sense of marriage couple as academic friends, encouraging each other to study, and by passing the test, they tried to raise their families. Also, although poor in rural life, the mind was the Independent women who pursued comfortable life.

• The Research Journal of the Costume Culture
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• v.5 no.4
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• pp.12-31
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• 1997

This is a study on the changes of the ancient underclothes. Underclothing includes all such articles, worn by either sex, as were completely or mainly concealed from the spectator by the external costume. Functions of underclothes are follow ; to protect the body from cold, to support the shape of the costume, to cleanliness, to erotic use of underclothes and as a method of class distinction. Linen is the oldest as materials and cotton came into general use after the Restoration of 1660. We must suppose that woolen petticoat was at least as old as the Middle Ages and silk was rarely used until late in Victorian times. Until the middle of the last century underclothes were necessarily hand-made, and the absence of fit was noticeable until the introduction of man\`s drawers, fitting the leg, at the close of the eighteen century. Strings and ribbons were the fastenings for underclothes until the middle of the seventeenth century, when they were replaced by buttons. One outstanding example of the first type of figures is a Babylonian girl of about 3000 BC from Sumeria who wears that today would immediately be described as briefs. Female statues show no trace of anything being worn under the chiton, but there is literary evidenced that the Greeks. A band of linen of kid was bound round the waist and lower torso to shape and control it. It was known as the Zone or girdle. The apodesmos, meaning a band, breast band, occurs in a fragment of Aristophanes. A Roman mosaic shows female athletes wearing a bikini-briefs and bra in the fourth century AD. A similar band, called the mastodeton, or breast band, was also worn round the bust, apparently to flatten or minimise it, as in the 1920s, and not, to stress its curves. In Rome, too, women sometimes wore bands of material round the hips and bust-a cestus or girdle is referred to by the poet Martial and seems to have been similar to the zone, but wider, and the strophium, or breast band, is mentioned by Cicero.

• Journal of the Korean BIBLIA Society for library and Information Science
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• v.28 no.1
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• pp.191-207
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• 2017

This paper employs entitymetrics analysis on the research works of Dong-ju Yun. He was a Korean poet who was studied by many researchers on his works, religion and life. We collected 1,076 papers about Dong-ju Yun and conducted various approaches including co-author citation analysis, topic modeling analysis to identify the topic trend in the study of Dong-ju Yun. Also we extracted entities like person's name and literature's title from abstract to examine the relationship among them. The result of this paper enables us to objectively identify the topic trend and infer implicit relationships between key concept associated with Dong-ju Yun based on text data. Moreover, we observed sub-research topics such as life, poem, aesthetic existence, comparative literature, literary translation, and religious beliefs. This paper shows how entitymetrics can be utilized to study intellectual structures in the humanities.