• Korean Institute of Interior Design Journal
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• v.21 no.5
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• pp.217-226
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• 2012

The purpose of this study had started from trying to look for a new standard in new media era and sounding out possibility of perspective of digital poetry, and had been extracting interpretational elements based on characteristics of otology in digital poetics research in technical method. Through examination of many documentary records, we suggested interpretive elements of medial space based on meaning and the theory of digital poetics. We deduced three perspectives based on relationship between the basic thesis in poetics and interpretive elements of medial space. We used them as tool for analysis of example. We chose as an example that change of program in space is clear through connection of media and space in where new form of creation happens through digital instruments and chose article as subject to which digital technology is applied and had been since 2000, The result of this study is as following: First, epistemological analysis about a space of digital media in new media era requires poetical approach unlike aesthetic approach. We can endow creative action and creation process with significance and pay attention to technical method of manufacturing, stating appropriateness of perspective in digital poetics. Second, the justice of digital poetics and its basic thesis help derive analytic elements from medial space and study purpose of production, technical method, ontological characteristics, which are three perspectives of digital poetics. Third, it analyzed characteristics of example according to three perspectives above and we can analyze characteristics of spacial expression in space of digital media into potential, trans-active, and semiosis space. It would be possible through analyzing examples in digital poetic perspective to overlook new methods of design in 21th and various perspectives and possibilities of medial space design.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1119-1133
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• 2010

This paper explores Myung Mi Kim's poetics of the archive in Commons. Commons begins with a gesture that critiques a prior act of archivization: "Here, this speck and this speck that you missed." As the poems accrue in the book, Commons demonstrates the desire to record those experiences that have been neglected by the architects of traditional archives while at the same time interrogating the very logic of the archive. Crucial to that interrogation is the poetic form. Kim's attempt to archive silences and gaps leads to a radical experiment with form and language. It reformulates the archive as an open system amenable to interruption, extension, and revision. I examine in detail the techniques that contribute to her poetics of the archive, a poetics that draws the readers out of the narrow confines of their personal experiences and their political identities. By juxtaposing Kim's poems with her statements of poetics given as interviews, this paper connects the project of Commons to Kim's larger concern with open form and experimental writing. I argue that the "difficulty" of her poetry should be reinterpreted as a demand that her text makes on the readers to broaden their terms of engagement. The linguistic experiment of Commons provides an occasion to rethink the habitual ways in which time is experienced, national histories are written, and literary works are consumed.

• Journal of English Language & Literature
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• v.56 no.1
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• pp.3-23
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• 2010

This essay questions and attempts to answer why and how Shakespeare set his plays in time and space other than his own England. Bakhtin's concept of chronotope as integrated time-space offers a model of establishing "a historical poetics." Shakespeare's chronotope has been either negated as mere names for transcendental ideas by universalists, or reduced to a "cover" for contemporary England by historicists. Refuting such either/or approach, this essay claims chronotopic dynamics of both/and as Shakespeare's intentional poetics of ambiguity. While Shakespeare clearly wants to build fictional chronotope distant from reality and does so through verbal repetition, character names, alternation of locales and speaking directly to the audience, he also brings in reality through the figure of clowns and the theatrical space of platea. Anachronism and topological errors ensuing from chronotopic collision register desire to produce multiple meanings. Shaped by historical forces such as Renaissance poetics, education, censorship and new geography, chronotopic form itself is a witness of historicity as much as the coded ideological messages New Historicists industriously delve out. Shakespeare's chronotopic dynamism offers the space for dialogue and appropriation to modern readers, a practice no less worthwhile than history lesson.

• Cross-Cultural Studies
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• v.41
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• pp.275-298
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• 2015

This paper is to examine in detail the relevant aspects of "Nature" and "Elegant Beauty" appearring in Cho, Chi-Hoon's poems and poetics. It uses the same context to explain the reasons and grounds for the inevitable, corresponding closely to his poetry and poetics. It is the core of Cho Chi-Hoon's poetry to determine "natural" new artistic views and his vision of ultra-modernism. This is consistent with the precise feature of "Elegant Beauty" in the midst of aesthetic categories profoundly discusseing his poetics. He regards a "lyric" as a vision of ultra-modernism, to overcome divisions and conflicts of values, "Truth Good Beauty", which was caused by modern science. Furthermore, it includes many social issues in accordance with the differentiation and specialization of each area. It is inferred to have been attempted to produce specifically was found to shape new images of "Nature" in the dimension of his poems, "Elegant Beauty" is overwhelmed with the aesthetic excellence of the other categories in the dimension of his poetics in this context.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.315-335
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• 2009

Controversies over W. H. Auden's "political" poetry remind us of an old but perhaps never easily resolved problem about the relationship between poetry (literature) and politics. Auden has arguably been referred to as a "leftist" or "Marxist" because of his political viewpoint registered in "Spain" or "September 1, 1939," which embodies his contemporaries' loss and fear, brought by the socio-political turmoil, economic depression, and moral conflicts of the 1930s. Interestingly, however, Auden is known to have an ambivalent position toward the political reality. He once disavowed the above "political" poems as "dishonest" in the preface of the 1966 edition of Collected Poems and declared, "poetry makes nothing happen" in "In Memory of W. B. Yeats," which seemingly acknowledges the political incapacity of poetry. Auden's position and poetry should be understood as the result of complicated interactions between his perspectives on society, human beings, and poetics. Auden definitely believed in the role of poetry in such a politically demanding time, yet was not concerned with the anticipation of certain immediate changes effected by poetry in real situations. Instead, he sought the intellectual and moral effects that poetry could give his readers to help them survive the dismal circumstances of the 1930s. This is what distinguished Auden's poetry from political propaganda. In doing so, Auden's poetry captures the zeitgeist of his generation and has privileged him as the leading voice of his time, but it has also encouraged the following generations to confront different socio-political difficulties. This is something poetry can make happen politically, and the survival of Auden's "memorable speech" proves the legitimacy of his frequently misunderstood poetics.

• Journal of English Language & Literature
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• v.56 no.6
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• pp.1295-1310
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• 2010

In her "After Language Poetry: Innovation and Its Theoretical Discontents" in Contemporary Poetics (2007), Marjorie Perloff spotted Steve McCaffery's and Lyn Hejinian's points of reference and opacity/transparency in poetic language, and theorizes in her perspicacious insights that poetic language is not a window, to be seen through, a transparent glass pointing to something outside it, but a system of signs with its own semiological interconnectedness. Providing a critique and contextualizing Perloff's argument, the purpose of this paper is to introduce a topological model for poetry, language, and theory and further to elaborate the relation between the theory and the practice of language poetry in terms of "the revolution of language." Jacques Lacan's poetics of knowledge and of the topology of the mind, in particular, that of "extimacy," can articulate the way how language poetry problematizes the opposition between inside and outside in the substance of language itself. In fact, as signifiers always refer not to things, but to other signifiers, signifiers becomes unconscious, and can say more than they actually says. The original signifiers become unconscious through the process of repression which makes a structure of multiple and polyphonic signifying chains. Language poets use this polyphonic language of the Other at Freudian "Another Scene" and Lacan's "Other." When the reader participates the constructive meanings, the locus of the language writing transforms itself into that of the Other which becomes the open field of language. The language poet can even manage to put himself in the between-the-two, a strange place, the place of the dream and of the Unheimlichkeit (uncanny), and suture between "the outer skin of the interior" and "the inner skin of the exterior" of the impossible real of definite meaning. The objective goal of the evacuation of meaning is all the same the first aspect suggested by the aims of the experimentalism by the language poetry. The open linguistic fields of the language poetry, then, will be supplemented by The Freudian "unconscious" processes of dreams, free associations, slips of tongue, and symptoms which are composed of this polyphonic language. These fields can be properly excavated by the methods and topological mapping of the poetics of extimacy and of the klein bottle.

• English Language & Literature Teaching
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• v.8 no.2
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• pp.23-38
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• 2003

Seamus Heaney, a famous Irish poet after Yeats, has written some pastoral lyrics from his experiences of farm life and childhood memories. These poems, in spite of his simple overt praise of a rustic farm life, have layers of meaning with their vast allusiveness and implications. He is an extremely literary writer dealing with history from the Celtic myth and a long English literary history. Though his style reminds that of a Victorian poet through his allusions of nature, he is a modern poet of innovative skills and senses. The explication of his representative sonnet sequence, the "Glanmore Sonnets" will reveal exquisite, complicated poetics of a modern poet. The poems are basically love poems, and the love is directed to his beloved wife, his lifetime companion. The poems relate the cultivation of a land to the poet's excavating language from the classics and to the images of love making. Through a careful reading of the sonnets this article will broaden our knowledge on how a modern love lyric of layered meanings can retain the past tradition in its complicated poetics.

• 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.

• (The)Study of the Eastern Classic
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• no.35
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• pp.101-133
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• 2009

Shi Zhen Wang has established his own comprehensive poetics; diachronically, he integrated the main theories on poetry from Wei and Jin to Ming and synchronically the major themes and concerns including 'pure and far-off', 'strong and firm', 'Adoration of Tang', 'Adoration of Song', 'gentle and mild', 'manly and broad minded', 'Nothern Song Ci' and 'Southern Song Ci', etc. The constant goal he sought in this integration process was to represent the intrinsic value of the literary on the basis of the absolute and objective standard without leaning toward a certain value. The standards and values, which are originated from the theory of Shenyun, are founded, more exactly, on 'to reach to it with no written word', 'the meaning outside of the meaning', 'intuitional feeling', 'the nature', 'elegance and righteousness', etc. Because of this, he was able to find good points from each work without prejudice and have full use of his critical talents with objective attitude.

• Journal of Korean Philosophical Society
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• v.137
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• pp.439-462
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• 2016

This Article's aim is to articulate Confucius's theory of poetics in analects. Confucius tried to establish Humanism and educate the idea of 'learning to become a sage' based upon six classics. He empathized with the education of The Book of Poetry. Sze-ma Tseen said that the old poems amounted to more than 3,000. Confucius removed those which were only repetitions of others and sang to them with his lute, bringing them into accordance with the appropriate musical style. This is the first notice which we have of any compilation of the ancient poems by Confucius. Confucius said, "If you do not learn the Odes, you are not fit to converse with. The Odes 1) serve to stimulate the mind, 2) may be used for purposes of self-contemplation, 3) teach the art of sociability, 4) show how to regulate feelings of resentment, 5-6.) 'From them you learn the more immediate duty of serving one's father, and the remoter one of serving one's prince. and from them we become largely acquainted with the names of birds, beasts, and plants.' Confucius' said, 'In the Book of Poetry are three hundred pieces, but the design of them all may be embraced in one sentence-- "Having no depraved thoughts."' This sentence is the final definition of Poetics.