• 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 Language & Literature Teaching
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• no.6
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• pp.25-34
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• 2000

This paper will examine the way Philip Larkin as a modern poet views unfavorable but inescapable past experiences with ambivalent attitudes. Larkin has written poems which concern the matters of time, aging, and death. Out of these related themes, the past has offered one major subject for Larkin's poems. Those poems on his personal experiences, coming out of his deep interest in the past and in the relationship the past has with his present and future life, reveal much of the poet's personality. Because of Larkin's conflicting attitudes towards past life, however, the poems about his past create both ambivalence and attraction in the readers' minds. The unusual restraint of emotion and conflict revealed in the poems about past life render rare modern lyrics that are unlike exuberant romantic poems.

• English Language & Literature Teaching
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• v.16 no.3
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• pp.253-268
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• 2010

Robert Lowell is one of the major poets in the modern American poetic world. His major work, Life Studies, is a representative of confessional poetry. It presented American spiritual civilization and universality for life from the late 1950s to 1960s. It dealt with the subject of the poet's private life under the psychological pressure. Lowell described his distinctive vision of the relationship of painful world and suffering self in his poetry. An important feature of his confessional poems was the criticism on modern civilization by means of characterization. Life Studies was written as a kind of therapy to overcome his early trauma, as well as the social problems of contemporary Americans which Lowell was confronted with. Through his personal experiences, Lowell exposed and judged the collapse of traditional value and moral confusion in the society. Therefore, he is a poet who opened his own world of poetry with his poetic achievements.

• 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.

• 중국학논총
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• no.65
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• pp.117-145
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• 2020

This article is the result of a comprehensive research of Lu tong(盧仝)'s . First of all, this research looked into the tea culture and literary trend of 'tea-poetry[茶詩]' writing that prospered at the time as a background for to be created. Subsequently, the relationship between Lu tong and Han-meng poet's school[韓孟詩派] was discussed to establish the background of the 'Lu tong style(盧仝體)'. And the format and content of were analyzed based on the characteristics of 'Lu tong style'. Through the above discussion, this study examined why was able to gain the reputation of being " the best poetry in the world for tea ". In addition, was later being 'diangu(典故)', affecting not only China but also Korean poems. This paper also figured out that Su shi(蘇軾) in China, Li se(李穡) in Goryeo, and Xu Juzheng(徐居正) in Joseon used diangu of most frequently.

• Journal of English Language & Literature
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• v.58 no.1
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• pp.143-161
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• 2012

The primary purpose of the present essay is to survey the relationship between Chaucer's fatherhood and English nationalism. Chaucer as a nationalist poet with essential Englishness is a product of the pre-modern nationalist project initiated between the late thirteenth century and early fourteenth century. In this period, as Turville-Petre regards, the English nationalist identity started to rise in language and literature. Thus this essay surveys the pre-modern nationalist discourse before Chaucer and how it influenced Chaucer to spawn his own nationalist discourse. The latter half of this project, as a reception study, surveys the nationalist receptions of Chaucer in the nineteenth century, when the connection between Chaucer studies and jingoistic nationalism was highly circumstantial. In terms of Chaucer's reception, the nineteenth-century was a crucial period: during this period the nationalist discourse and Chaucer studies firmly combined and Chaucer was envisaged as a boastful nationalist poet. The essay's discussion generally revolves around Chaucer's fatherhood and his exclusive Englishness; "Chaucer the father" is nationalist rhetoric which mediates thirteenth century post-colonialism and nineteenth-century colonialism.

• Review of Korea Contents Association
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• v.14 no.2
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• pp.54-58
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• 2016

• Cross-Cultural Studies
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• v.19
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• pp.127-147
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• 2010

Lee Chan's early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan's poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet's tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s' poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn't throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry's extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

• 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.6
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• pp.1361-1378
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• 2010

This paper argues that it is possible to construct an analogy of the literary fragment to an organic individual on the basis of an autonomous system of organic unity by reading William Wordsworth's ways of self-writing in The Prelude. The organicity of a fragment is borrowed from Friedrich Schlegel's theoretic and literary approach to the Romantic fragment. Focusing primarily on the two "spots of time" in Book Twelfth, I attempt to formulate a reciprocal relationship between a work of art and a literary autobiographer in terms of the self-generativity of the fragment. To be precise, both the fragment and the autobiographical project presuppose and at the same time depend on the engendering force of an organic unity and its resistance to discontinuity, which ironically affirms the persistent threat of disruption and death. Rewriting traumatic childhood experiences as rites of passage into adulthood, the two specified "spots of time" show the dominant mode of memory operative in the poem. Asserting the prominence of the individual as the very vehicle of realizing universal humanity, Wordsworth tries to re-form his individuality grounded in his childhood memories in a literary fashion. Under the premise that the poet is remembered by his posterity, The Prelude is constituted and reconstituted in conjunction with different versions of each memory. The poem also marks the poet's unachieved project of writing a philosophical poem, namely, The Recluse; for this very reason, The Prelude, which is complete in itself, points to an eternal work in progress, turning the truth of every fragment complete in its incompletion. As a trope of fragmentation, an autobiographical individuality is reformed in the poet's process of writing and re-visioning while simultaneously being dispersed once again between words, sentences, and pages.