• The Journal of Korean Philosophical History
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• no.27
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• pp.469-496
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• 2009

Ding Shihan(styled Yutan; 丁時翰, 愚潭) was famous for his four-seven differentiation(四七辨證) on the area of neo-Confucianism. Yet few comments and criticism were made on his poetry, for rarely of which was handed down from generations. Hence there is a mystry on his talent in terms of poetics. Noted by Zhou Dunyi(styled Lianxi; 周敦頤, 濂溪) and Zhuxi(styled Hui'an; 朱熹, 晦庵) in Song Dynasty, most of neo-Confucianism scholars after them were expert at intoning and thus formed the poetic school of "Elegance of Lian-Luo"(濂洛風雅). Therefore, there is also a mystry on how his poetry related to his works of neo-Cunfucianism. During his whole life, Ding never involved himself in politics as an official. He read Confucian classics a lot, and was also proficient in classics of Buddhism and Taoism. In addition, he was fond of travelling in nature. A superfical conclustion is made based on these situation that his thoughts was closely linked with Confucianism, Taoism and Buddhism. Therefore, it is worth elaborating whether his thoughts belonged to Confucianism, Taoism and Buddhism, and whether he was a pure Confucian( 醇儒) through his whole life.

• Journal of English Language & Literature
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• v.55 no.3
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• pp.497-515
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• 2009

Culture as a source of identity, as Edward Said says, can be a battleground on which various political and ideological causes engage one another. It is not mere individual cultivation or private possession, but a program for social cohesion. Sensitively aware that a national culture should be independent from Europe, Walt Whitman enacts a new form of literature by placing different cultural values against Old World tradition. His interest in autochthonous culture originates from his deep concern about national consciousness. He believes that literary taste directed toward highly-ornamented elite culture is an obstacle to cultural unification of a nation. In order to represent American culture of the common people, Whitman incorporates a lot of cultural material into his poetry. Since he believes that America has many respectable writers at home, he urges people to adjust to their own taste instead of running after foreign authors. Whitman differentiated his poetry from previous literary models by disrupting the established literary norms and reconfiguring cultural values on the basis of American ways of life. In his comment on other poets, he concentrates on the originality and nativity of poetry. By claiming that words have characteristics of nativity, independence, and individuality, he envisions American literature to be distinguished from British literature in literary materials as well as in language. Whitman s language is composed of a vast number of words that can fully portray the nation. He works over language materials in two ways: reterritorialization and deterritorialization. Not only does his literary language become subversive of the established literary language, but also makes it possible to express strength and intensity in feeling.

• SUVANNABHUMI
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• v.16 no.2
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• pp.147-184
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• 2024

At the dawn of the 20^th century, Southeast Asian female poets increasingly delved into introspective reflections on gender, giving rise to a heightened self-awareness in their artistic contemplations. This shift in perspective brought forth numerous crucial topics for discussion, such as the historical role of female poets, women's experiences, feminine language, female voices, and female identity. The exploration of language has empowered female poets to discover a "third space" that allows them to exist and eliminate the pervasive gaps of women in Southeast Asia, creating social changes, fostering concepts of feminine culture, and establishing progressive social institutions. Marjorie Evasco (1953-) and Dư Thị Hoàn (1947 - ) are exemplary representatives of contemporary Southeast Asian women's poetry due to their significant artistic contributions and pivotal roles in promoting feminist literature in their respective countries. This study compares their poetic works, focusing on three crucial aspects: self-awareness of femininity and feminism as an identity autonomy, writing between two languages to express their identities, and constructing the image of mother and motherhood from personal and historical perspectives. Hence, the article highlights that Southeast Asian female poets, throughout different historical contexts, persistently forge their identities and strive for equal footing with men in society. Also, their invaluable contributions have significantly enriched the feminist literary tradition in Asia.

• Sijohaknonchong
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• v.23
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• pp.5-32
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• 2005

The life of man is being changed with the changes of the times. The man struggles to enjoy the blessing of peace and lives as a member of a nation. So he has the national characteristics. In that national characteristics is the national emotion. From the emotion the national poetry is created. The poetry has the conventional form. This form is regarded as Sijo(時調). The Sijo was prescribed as the organization three sections. But this prescription is false. This form is the organization of five sections. When the false prescription is corrected, we have our conventional poetry form and create our own poems.

• Sijohaknonchong
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• v.20
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• pp.75-96
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• 2004

A pavilion is located in the place with beautiful scenery, which maximizes the poetical features of nature. So a scholar in the Chosun Dynasty had the dream of possessing it. This trends of the Chosun scholar resulted in producing lots of literary works related with the pavilion. In this thesis, I researched the characters of Pavilion Si-Jo in accordance with the function of pavilion. First, the pavilion, which is surrounded by the beautiful scenery, is a good place to see the beauty of nature. It is needless to walk around to see the scenery thanks to its open structure. So the feeling in the pavilion Si-Jo is distinguished from other sightseeing Si-Jos: those show the way of seeing the scenery walking here and there, but this shows the way of seeing the scenery only just looking up, looking down, and looking in the distance. Second, the pavilion functions as an academic place. In this case, it can be said that it functions like a lecture hall. It is more effective to study in the pavilion than in the closed structure, a lecture hall. Furthermore, the scholar studying in the pavilion understand the principle of nature with seeing the beautiful mountain and river, and it can be a place for growing a vast-flowing spirit. This kind of poetry has been handed down with the Chinese poetry, and the character who operated the pavilion often appears in the work. Third, the pavilion functions as a space for a fraternity or poetry circles. The poetic exchange was conducted by host of pavilion. which is the key ingredient for organizing a poetry circles. Finally, the pavilion functions as an entertainment. Although it is a space for an entertainment, there is no deviation as a man of novel birth. If the pavilion has the feature of closeness, there are sometimes works which shows the deviation of them.

• Cross-Cultural Studies
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• v.39
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• pp.219-240
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• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.

• Cross-Cultural Studies
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• v.51
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• pp.25-44
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• 2018

Modern Japanese "Anti-war poetry" originates from Sino-Japanese war and Russo-Japanese war period. Sino-Japanese war was started by an Imperial rescript of war declared and ordered by the Japanese Emperor to the Japanese citizens. With this declaration, the Emperor gave a message to the population that Objection was not acceptable. This Declaration of Imperial Rescript (Shousho) became justified as being a Crusade or Holy war. Any Anti-war stance was considered an ideology of revolt against the Emperor and his order of Imperial rescript (Okotoba). This was why when Akiko Yosano's "Don't you dare lay down your life" (1904) was published, it received harsh criticisms such as "be punished in the name of the nation". Anti-war poetry as a way of free speech was suppressed. Short poem was especially targeted. Because it is seen as a minor genre, short poem has been passed over. It needs to be reappraised for its importance as a category of anti-war poetry. Notably, modern short poem (New Senryu) has been under oppression and relentless surveillance because of its stance of criticizing politics and society in general by making full use of satire and irony. A supreme example of satirizing of Imperial Rescript on education was the "An anti-war poetry" by Akiri Tsuru. This treatise is a study of how ironical technique from "An anti-war poetry" inverts the meaning of "Imperial decree" and "Imperial rescript".

• Cross-Cultural Studies
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• v.53
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• pp.1-24
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• 2018

This following research is a study on the use of French and de-locality in the modern Korean poet Lee Sang's poetry (1910-1937). His hometown was Kyung Sung, Seoul. He mainly wrote his works in Korean, Chinese character, and Japanese, using the language of education and his native language at that time. So then, what was the spirit that he wanted to embody through use of French words? By using words like "ESQUISSE", "AMOUREUSE", Sang's French was not a one-time use of foreign words intended to amuse, but to him the words were as meticulously woven as his intentions. French words were harmonized with other non-poetic symbols such as "${\Box}$, ${\triangle}$, ${\nabla}$", and described as a type of typographical hieroglyphics. Instead of his mother-tongue language, French was applied as a surrealistic vocabulary that implemented the moral of infinite freedom and imagination, and expressed something new or extrasensory. Subsequently, the de-localized French (words) in his poetry can be seen as poetic words to implement a "new spirit", proposed by western avant-garde artists. Analysis of French in his poetry, showed a sense of yearning for the scientific civilization, calling for his sense of defeat and escape from the colonized inferior native land. Most of all, comparing his pursuit of western civilization and avant-garde art to French used in his poetry, is regarded as world-oriented poetry intended to implement the new tendency of the "the locomotive of modernity," transcending the territory of the native country.

• Korean Journal of Heritage: History & Science
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• v.52 no.1
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• pp.22-43
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• 2019

Mureung Valley was designed as a place of scenic beauty. It was called a utopia because of its unexplored regions. Many people traveled to this place and wrote poetry and prose describing it. It represented a culturally historic site and an example of the changing of cultural spaces. Mureung Valley was one of the nameless valleys in Duta Mountain, but "Mureunggye" was named by Kim Hyon Won, who was a governor of Samcheok.. The valley acquired a reputation for many people's visiting. It was a famous space because local residents liked the place, and famous people also loved the place. This place was adapted into a cultural place with a link to the immortal world and an educational place by people's travel stories. The place maintained a reputation until now and took center stage as a famous travel space. One of the reasons it became a place of famous scenic beauty is travel. People who travel to Mureung Valley created poetry and prose containing their excitement and travel stories. As the poetry and prose had esthetic images of Mureung Valley, people understood the place. The poetry and prose showed the meaning of the place and the changing process. These codified the reputation in the place. Mureung Valley was pointed out in one of the Cheokju-Palkyoungs. However, Mugye-Palkyoung (only for Mureung Valley) was made. It was understood as the most beautiful scenery in the place and it had the meaning of the ethics place which embodied Neo Confucianism. Mureung Valley has a great natural landscape and cultural history background. That is how this place of scenic beauty was created.

• (The)Study of the Eastern Classic
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• no.59
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• pp.9-32
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• 2015

The purpose of this paper is to study the development process of our native verses from the Three Kingdoms Period to the Goryeo Dynasty. The contents of the discussion can be summarized as follows. Typical form of "Sanega" from the Three Kingdoms Period to the late Silla/ early Goryeo Dynasty is a well organized 3-layered structure representing the contents of enlightenment of a high priest. Sanaega has a poetic style characterized by distinct literary features compared to other native verses in the same era. The reason is that 10-line Hyangga improves its poetic level as it is aware of Chinese poetry. As it enters the Goryeo Dynasty, this literary composition starts to change. In other words, Sanega declines and quatrain emerges in the front of literary history. Unlike the Three Kingdoms Period ~ the late Silla/ early Goryeo Dynasty, development of quatrain results from that native verses enhances the characteristics of song rather than poem in the Goryeo Dynasty. Native verses form the mutually complementary relationship by adjusting the position as the song rather than competing with it as the poem as Chinese poetry becomes more common. In the Goryeo Dynasty, Sanaega declines and Sijo emerges in literary history, because native verses have been developed in the poetic form to freely express general emotion and to be more loved from the public. It is in the same vein as a native verse in the form of quatrain raises its vitality by enhancing the characteristics of the song through the adjustment of its position compared to Chinese poetry.