• 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.

• 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.

• Cross-Cultural Studies
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• v.31
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• pp.95-118
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• 2013

Robert Frost's poetry has generally been considered fairly readable partly because of the simplicity or down-to-earth-ness of the messages that go along with the poet's projected public image and the 'traditional' forms he used. Against the grain of such general perception, this study reads some of the early poems of Robert Frost to re-characterize the beginning of the poet's career as a modernist attempt to challenge the dominant poetic conventions of the time: the genteel conventions. In reading the poems, this study focuses on frost's strategic method of using the speaker or persona regarding the delivery of meanings. Those readers who would like to find the immediate presence of Frost's voice in the poems, fail to distinguish the speaker and the poet, readily accepting the face value of what the speaker tries to convey: those messages which are in line with liberal individualism, like self-reliance, autonomous self, work ethics, etc. Frost's speakers, however, are rarely the mouthpiece of the poet himself. Rather, they are fictional characters who, while on the surface of the text appear to be hammering out a stable theme out of their everyday experience, under a heuristic scrutiny of the textual structure, turn out to be undermining the logic or the rationality of the theme, which can be identified as a modernist textual strategy that challenges the traditional conventions regarding the stability of meaning in a poetic text.

• Cross-Cultural Studies
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• v.50
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• pp.283-311
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• 2018

The Russian poet A. C. Pushkin left more than a hundred self-portraits in his lifetime. These self-portraits are the subject of a special research project. Pushkin liked to sketch himself disguised in various shapes in his manuscripts. Besides Pushkin, many authors have portrayed themselves, but in terms of their quantity and fame, it is difficult to find self-portraits that transcended those which are as detailed and revealing as that of Pushkin's. Focusing on this point, this paper first examines the position of the poet's self-portraits in the context of the tradition of the self-portrait, as a painting genre full of romanticism as manifested and revealed in the 19th century. Subsequently, this article explains the meaning of the Pushkin's typical self-portraits in profile, which were mostly drawn in his manuscripts. Finally, in order to explore the philosophical implications contained in this poet's self-portraits, this paper attempts to read poet's self-portrait in comparison with Rembrandt's self-portrait, and Montaigne's Essais as well for a comprehensive comparison of the three entities.

• Cross-Cultural Studies
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• v.29
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• pp.55-84
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• 2012

This paper is to study the Tang Dynasty monk poet Ling-yi's poem world and his significance on history of literature. In Chinese literature history, "the monk poets" is a very unique literature creation group. The means of a word "the monk poet", from the literal can see " he is the monk that Can write poems", which is dedicated to professionally writing poetry monk. Buddhism spread to China, from the Wei and Jin Dynasty beginning has been writing poetry of the monks, but the real meaning of "the monk poet" (i.e., professionally poetry monk) appeared to the Mid-Tang Dynasty period. The monk Ling-yi is the pioneer of the monk poets group and Buddist monk creative poem in Mid-tang Dynasty period. Although the Lingyi life is very short, only 35 had died, and his poetry has not been too much, only 44 songs, but he in this life of 35 years and 44 poems, for the development of classical Chinese poetry left noticeable imprinting. He is not just as monk's high practice and by advocating for great Buddhist scholar, also through the daily meditation in poetry creation practice were obtained at that time of many men of literature and writing respected. This paper from the poem monk Ling-yi double identity - the first is a Buddhist monk, the second is addicted to poetry poet to proceed, step by step, in-depth study as the poem monk Ling-yi's poetry creation characteristic and the creative mentality characteristics. This thesis also explores the poem monk by the creation of poetry pursuit, exploration, finally realized "poem" and "Zen" together as one "Zen poetry" creation mechanism.

• 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.

• 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.

• Cross-Cultural Studies
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• v.39
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• pp.153-176
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• 2015

Poet, painter and publisher, Roland $Gigu{\grave{e}}re$ is one of Quebec's outstanding figures, inspired by both Surrealism and Quebec nationalism. He participated in contemporary artistic movement 'Phases' and influenced collective self-awareness and political ferment, 'Quiet Revolution'. In La Main au feu(1973), his poetry represent a landscape dominated by darkness in contrast with red color of fire from the volcanic crater. The world is immersed in darkness of despair which allude to the Great Darkness of Quebec society. Acts of violence assume many different forms: crows, black rain, dark flow, frenzy of knife blows. Both things and humans are in the state of absence or lack. Life falls into opacity of death. In the background of dark landscape, we discover Miror, a singular character. Similar to chain of mountains and to bare forest, he is a creature that shape the tragic inner world of poet. He is as like as seismograph that record the tremble of being. Finally, in order to fight the darkness of environment, the poet attempt to use the power of fire of volcanoes. The flow of magma become paintings of his dream and the flame of eruption, poetry of cry toward the sky. 'La main au feu' means the will to resist injustice and repression in the world. The tragic reality is replaced by a dream that become second reality out of reach of the force of hostile external circumstances.

• 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.