• 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.

• Speech Sciences
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• v.11 no.3
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• pp.181-192
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• 2004

The metrical structures in orally produced the poetry were generally analyzed by accent, metre and syllable. The purpose of this study is to investigate of metrical structures of Korean modem poetry using computer implemented speech analysis system. Two famous poet's poems confidential talk, Miloe and 'A buddhist dance, Sungmu' were selected for prosodic analysis. The informant is 60 years old professor in major of Korean and French poetry. The syllable structures of poems were analyzed primarily by vowel timbers, which can classified compact and diffuse vowels according to the distance of F2-F1. The perception cues of consonants were analyzed by VOT and tensity features of articulation. Rhythm is classified by dactyl, anapest, trochee, spondee and iambic. As a result, syllable structures of Korean modem poetry were mainly CV and CVC and the reading times of each lines were 3-4sec for 12 and 15 syllables. Main metre of Korean modem poems constructed the Imbic and Anapest. The break of each lines were demarcated by grammatical structure or meaning rather than phonetic structures.

• ETRI Journal
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• v.44 no.3
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• pp.413-425
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• 2022

The study of literary texts is one of the earliest disciplines practiced around the globe. Poetry is artistic writing in which words are carefully chosen and arranged for their meaning, sound, and rhythm. Poetry usually has a broad and profound sense that makes it difficult to be interpreted even by humans. The essence of poetry is Rasa, which signifies mood or emotion. In this paper, we propose a poetry classification-based approach to automatically extract similar poems from a repository. Specifically, we perform a novel Rasa-based classification of Hindi poetry. For the task, we primarily used lexical features in a bag-of-words model trained using the support vector machine classifier. In the model, we employed Hindi WordNet, Latent Semantic Indexing, and Word2Vec-based neural word embedding. To extract the rich feature vectors, we prepared a repository containing 37 717 poems collected from various sources. We evaluated the performance of the system on a manually constructed dataset containing 945 Hindi poems. Experimental results demonstrated that the proposed model attained satisfactory performance.

• Journal for History of Mathematics
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• v.29 no.2
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• pp.89-102
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• 2016

Lee Sang, one of the representative poets of Korean Modern Poetry, wrote poems which present the existentialistic modernism in the 1920s, the chaotic era of Korean history. The characteristics of his works have been shown by various points of view. This paper especially explored the meaning and feature of mathematical expressions by numbers, symbols and other signs of mathematics in Lee's poems. His poems are composed by scientific and abstract rules in mathematics which are expressed as mathematical symbols. The paper focuses on analyzing seven poems which maximizes mathematical expressions among his poetry. This kind of work would be the one of ways to figure out the features of mathematics through literature.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1001-1021
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• 2012

This paper is concerned with John Ashbery's poetics of difficulty, questioning in particular the nature of communication in his difficult poems. Ashbery has an idea of poetry as 'information' to be transmitted to the reader. Meaning, however, is to be created by a series of selections among equally probable choices. Ashbery's poetry has been characterized by resistance to the interpretive system of meaning. But the resistance itself, as I will argue, can be an effective medium of communication as the communicated message is not simply transmitted but 'selected' and thus created by the reader. In Ashbery's poetry, disruptive 'noise' elements can be processed as constructive information. What is normally considered a hindrance or noise can be reversed and added to the information. In Ashbery's poems, random ambiguities or noises can be effectively integrated into the final structure of meaning. Such a stochastic sense of information transfer has been embodied in Ashbery's idea of creating a network of verbal elements in his poetry, analogous to the interconnecting web of hypertext, the most dynamic medium 'information technology' has brought to us. John Ashbery, whose poems are simultaneously incomprehensible and intelligent, employs ambiguities or noise in his poetry, with an attempt to reach through linear language to express nonlinear realities. It is therefore my intention to examine Ashbery's poetics of difficulty, from a perspective of communication transmission, using the theories of information technology and the principles of hypertext theory. Ashbery's poetry raises precisely the problem confronted in the era of communication and information technology. The paper will also show how his aesthetics of difficulty reflects the culture of our uncertain times with overflowing information. With his difficult enigmatic poems, Ashbery was able to move ahead of the technological advances of his time to propose a new way of perceiving the world and life.

• 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.

• Journal of Korean Classical Literature and Education
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• no.39
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• pp.221-246
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• 2018

In this text, the author examines the aspects and characteristics of the three forms that were created and enjoyed when the upper-class nobles of Japan "combined(混淆)" waka(和歌) and Chinese poetry(漢詩) between the 10th and 17th centuries. The three forms are the "Collection of Japanese and Chinese poems for singing"(和漢朗詠), "A collection of Japanese and Chinese poems" (詩歌合), and the "Renku renga"(聯句連歌). "Collection of Japanese and Chinese poems for singing" appeared in the 10th century, "A collection of Japanese and Chinese poems" appeared in the 12th century, "Renku renga" appeared in the 14th century, and all three continued to influence the history of Japanese literature after that time. As the combination of literary Japanese and Chinese progressed, the gap between waka and Chinese poetry decreased until they finally combined to create a single work. That is, waka and Chinese poetry converged in one place in multiple ways: as a work that was appropriate to be recited("Collection of Japanese and Chinese poems for singing"), facing each other work against work in a competition("A collection of Japanese and Chinese poems"), and, in the end, they reached the point where they were interchangeable as lines making up long poems(長詩)("Renku renga"). The combination of literary Japanese and Chinese can be said to be the Japanese version of the common movement in East Asian literary history during the Middle Ages to make songs from one's own language flawless in Chinese poetry. Meanwhile, by examining the status changes that appeared as Chinese poetry paralleled, fought with, replaced, and combined with waka, we can find clues to explain the attitudes of the Japanese people on Chinese poetry during the period when the three forms existed, as well as the characteristics of Japanese Chinese poetry that appeared in response to that. The preferences not of "myself" but of the "audience," content and expressions that revere the period rather than the inner self of the poet, and the fact that it is a means for enjoyable pleasure rather than having the original characteristics of lyrical poetry for self-expression are all characteristics of Chinese poetry in Japan during the early and late Middle Ages period. These characteristics can be said to be the current that flows in the underbelly of the history of Chinese literature in Japan. This author believes that the key to discussing the history of Chinese literature in Japan during the Middle Ages period from the perspective of East Asian literary history can be found here.

• Journal of Korean Classical Literature and Education
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• no.32
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• pp.287-326
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• 2016

This study describes the acceptance of Hae-Dong-Yu-Yo(海東遺謠), which is a book the 19th century to 20th century, into the genre of poetry. In chapter 2, I searched for lists, constructions and arrangement of poems in Hae-Dong-Yu-Yo(海東遺謠). The book has not only 39 poems (gasa) in Korean, but also more than 20 poems (hansi) in Chinese. I also found two new poems by the editor of the book. This shows that the receiver fully accepts the poetry and that he has equal consideration for Korean songs as well as hansi ones. In chapter 3, I focused on the red and blue points inside letters. When we read only the red and blue points within the poetry, I realized that Hae-Dong-Yu-Yo(海東遺謠) created these for poetry's literary value, not for music or songs. This reveals how the editor of Hae-Dong-Yu-Yo(海東遺謠) received the older famous poems as his own. This shows us the degree of acceptance of Korean classical poetry and songs, and therefore leads us to believe that this can be of use to present learners as well.

• Lingua Humanitatis
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• v.2 no.1
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• pp.131-151
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• 2002

Park Dujin has written the nature poems through his keen sense for light and the emotion of Sinmyeong(the excited and enthusiastic mind) from his early poetry to his later poetry. His poetic emotions, with the periods of his composition of poems, are expressed in the juxtaposition of the waiting for something or the existential agony with the devout faith. But he has pursued tile monistic nature through the emotion of light and Sinmeoung. Therefore all his poems are characterized as the nature poems which expose the artistic wholeness transcending the ideology and spirit of his times. Up to the present, Korean ecological poems have been absorbed in examining and criticizing the crisis for the environmental pollution and the destruction of ecosystem. Therefore Korean ecological poems could not get out of the dualistic ecological consciousness of the opposing environment confronting between man and nature. The ecological peculiarity in Park Dujin's nature poems is not the level of the man-oriented environment or bioecology but the monistic nature which man and nature are unified. This fact can be said to be caused by the approach to the objects on the basis of the sense for light and the emotion of Sinmyeong which perceive the transcendental nature.

• Journal of English Language & Literature
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• v.64 no.2
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• pp.299-305
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• 2018

Near / Miss, Charles Bernstein's poetry collection, is replete with poems of distinctive styles and pluralistic forms in his idiosyncratic and artistic cosmos. With poetic antics, queerness, sarcasm, irony, and humor, the book showcases the motif of loss, chaos and trauma in postmodern America and the world. The multiplicity and multi-dimensional $M{\ddot{o}}bius$ effect in Near / Miss echo earlier Bernstein's poems, as well as poems by ancient and contemporary poets, with visual artists and musicians, and rabbis and Jewish philosophers. I argue that Near / Miss offers an apotheosis of echopoetics, which has been launched in his previous book Pitch of Poetry. Poems in the book reveal the dark and thick "pitch," namely the queer, the uncanny, the invisible, the disabled, the dispossessed, and the silenced poetic Other and make it explicit. The estrangement and alienation of $clich{\acute{e}}$ through diverse malaprops, mondegreens, non-sequiturs and fragmentations in Near / Miss aim at deconstructing the fixation of language so as to display the poetic Other. The motif of "nothingness" in echopoetics significantly multiplies its meanings. Nothingness mainly refers to the loss of origin, the defiance of tyranny, and the sublimity of the universe and the poetic Other. Melding his personal loss and misfortune, the current political discontent and the postmodern chaos in America and the world, nothingness in echopoetics resonates with American literary tradition and Zen with a healing and transforming power.