• 영어영문학
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• 제64권2호
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• pp.171-185
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• 2018

Students and other new readers of modernist poetry often experience difficulty with the influential early work of Ezra Pound. Although these typically brief poems may appear (deceptively) simple, an understanding of the relationship between Imagism and Vorticism is crucial to reading-or teaching-them effectively, which in turn requires significant familiarity with relevant poetics theories as well as representative poems. This essay clarifies the complex relations Imagism and Vorticism as two distinct styles that are too often conflated to the detriment of an accurate understanding of either one (and, in consequence, of the later modernist poetry that builds on their discoveries). In order to elucidate the modernists' justification of free verse over traditional metrical composition, I begin with an elaboration of T. E. Hulme's 1911 theory of the "cheerful, dry, and sophisticated" modern classicism on which both Imagism and Vorticism were largely predicated, developing Hulme's important distinction between the version of classicism that is "static" (and gives rise to Imagism) and the one that is "dynamic" (and leads to Vorticism and beyond it). In the following two sections, I draw upon and synthesize a broad range of Pound's own poetics statements to reveal the evolution of first sound ("melopoeia") and then the image ("phanopoeia") throughout his early work. Although the body of this article is analytical and historical in nature, it concludes with a practical template prompt for a creative response assignment, appropriate to undergraduate and graduate students, designed to help new readers recognize for themselves how Vorticist art works and why it matters.

• 영어영문학
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• 제64권3호
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• pp.469-481
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• 2018

When literatures and cultures encounter their counterparts in terms of the big data or statistics of a new reconfiguration in the cognitive map, the tangential points of the borderland will be reduced to what Mitchell calls "a mere abstraction on a map," which nevertheless will provide a vast interstitial zone of "intersections, competition, and exclusions." This zone will be the dynamic vortex for the aesthetics, politics, and ethics of cultural translation. The translated discourse will engage in carrying across the disturbing region of untranslatability and demonstrate how the literary texts of world literature reveal enriching but threatening human experience. This dynamic border of vortex will construct the translational space of world literature, transcending the fragmentary untranslatable nature of the hybrid convergence of the ethnic, racial, cultural and national intermixtures and constructing what Pascal Casanova terms "The World Republic of Letters." In this paper, I will demonstrate how the very concept of scale is related to literary space as well as how distance creates a poetics of literary landscapes which looks ahead of world literature. Also, I will attempt to find the possibility to relate the "micro-scale" with the "macro-scale," and to construct the scale politics of representation. "Glocalization" is a convenient theoretical tool for the double movement of the up-scale and down-scale.

• 만화애니메이션 연구
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• 통권40호
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• pp.397-421
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• 2015

새로움은 전통의 틀을 활용함과 동시에 극복하면서 태어난다. 대표적인 고전 내러티브는 아리스토텔레스의 "시학"을 그 시작으로 삼는다. "시학"은 3막구조, 미메시스와 카타르시스, 플롯(미토스)과 캐릭터(에토스), 깨달음과 반전 등을 극작(dramatrurgy)의 근간으로 제시했다. 내러티브의 핵심은 인물을 설정하고, 그들이 겪는 사건의 원인에서 결과에 이르는 과정이다. 이때 극적 효과를 높이기 위해 플롯이 강조된다. 아리스토텔레스가 효과적인 이야기를 위해 가장 중요하다고 여긴 플롯은 고전 내러티브만이 아니라, 내러티브적 성향을 가지고 있는 현대 모든 영상물에서도 그 중요성이 두드러진다. 본 연구는 "시학" 이래 구축된 전통적인 내러티브 방식에 대한 이해와 함께, 새로운 플롯 활용의 사례로서, 2011년 칸광고제에서 인터넷영화 부문 수상작인 <데드 아일랜드>의 예고편(이하 ''로 표기)을 분석한다. 예고편은 보다 많은 관객 또는 소비자를 만들기 위한 목적을 가진 광고이다. 은 역할에 충실한 광고임과 동시에 완성된 내러티브를 가진 3D 단편 애니메이션 작품이다. 본편 게임과 시공간 배경과 세계관을 공유할 뿐, 전혀 다른 인물들과 사건으로 진행된다. 그 인물과 사건이 특별한 것만은 아니다. 대신 은 아리스토텔레스가 한 번도 다루지 않은 시간의 개념을 조정함으로써 독특한 플롯 구성을 선보인다. 특히 비선형적(non-linear)인 구조로 원인과 결과라는 시간적 연계가 독특하게 형성되어 있다. 본 연구는 시간의 배열, 방향, 속도 조정을 통해서 이 평범한 내러티브를 어떻게 극복하고, 의미 창출에 도달하는지 알아본다. 이를 위해 내러티브와 쇼트분석을 시도한다. 나아가 영상물의 내러티브가 가질 수 있는 시간 변형의 또 다른 개념의 존재를 모색한다. 이를 위해 "시학"의 주요 개념과 함께 주네트($G{\acute{e}}rard$ Genette)의 내러티브 연구를 참조한다.

• 인문언어
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• 제2권1호
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• pp.213-235
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• 2002

The purpose of this paper is to study on the aesthetic modernity of Baekseok's poetry. They say that Baekseok's poetry have the motives of the folk-customs and his native language which have been studied for the purpose of showing the subject character of Baekseok's poetry. Baekseok's poetry consisted of the dark imagery are based on the reality of our national loss and his lose living, so the approaching for the purpose of showing the subject character is more suitable for the understanding of the world of his poetry. But this paper Is approached by what the aesthetic modernity of Baekseok's poetry is, because the understanding of how the modem poetry are composed of is more important reading pattern on them. The special feature of his poetry is composed of the ironic poetics figured by the anti-subjectivity like the stylistic of the Imagism, the child narrator, and the pessimist narrator. His poetry written by the Imagism stand for the Apollo Modernism, and his poetry written by the child narrator and the pessimist narrator stand for the Dionysus Modernism. His poetry anti-subjected through the Imagism have been written with the motives of the home-nature and the native people, which have created the objective modernity. His poetry through the child narrator have been written with the motives of our folk-customs, and them through the pessimist narrator have been written with the paradoxical speech, which have created the subjective modernity. Especially, the Shamanism-poetry through the child narrator have created the aesthetik of the Schreckens. Others have created the ironic poetics through the anti-subjectivity and the exaggerated paradoxical rhetoric. In conclusion, it is more reasonable point of view that the special feature of Baekseok's poetry is based on the dual modernism like the Apollo and the Dionysus.

• 영어영문학
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• 제57권6호
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• pp.1089-1109
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• 2011

In an attempt to demonstrate in context of Nietzsche's "overman" (ubermensch) and Heidegger's "Being-in-the-World" (Dasein) the collective human efforts to overcome humanism in crisis, I will provide the ground for the poetics of overcoming, the ground which are based upon the double movements of transhumanism and transnationalism. For this purpose, I will turn to the theories of two distinctive poets who reveal and disreveal their truths about the subjecthood or the subjectivity in terms of overcoming: Christopher Dewdney for posthuman transhumanity and Dionisio D. Martinez for transnational cultural contamination Transhumanism represented by Christopher Dewdney manifests an interfusion of outside and inside, thereby collapsing the boundary between the mind and the world, and provides a breakthrough from the limitedly defined mind to the transhuman perspective of overcoming by using terminalogy and techniques from science and technology. The emerging transhumanism reflects the growing interdependence between humans and bio technologies, and suggests a potential improvement of human beings. The main argument of transhumanism is that we humans can and should continue to develop in all possible directions, by overcoming our human limitations by shedding the body and having the disembodied consciousness which will liberate our mind. Kwame Anthony Appiah's "cultural contamination" is another form of overcoming as well as a way to otherness, a counter-ideal of cultural purity which sustains authentic culture, reversing the traditional binary opposition between enriching authenticity and threatening hybridization. Dionisio Martinez's poetry sublimates the negative side of Appiah's concept of contamination, by redeeming the value of the Appiah's list of the ideal of contamination such as hybridity, impurity, intermingling, the transformation that comes of new and unexpected combinations of human beings, a bit of this and a bit of that is how newness enters the world. When a poetic subject is doubly exiled and doubly homeless away from his/her native homeland and home of native language, one has no more identification with the authentic culture of both home and away, but rather anticipates a new identity as a transnational subject to cross the bridge beyond cultural authenticity and to enter into the field of cultural contamination.

• 영어영문학
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• 제56권1호
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• pp.25-45
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• 2010

While environmental ethics, a relatively new field of philosophy, has gained its practical power in the contemporary world, the ethics of ecological poetry has not been studied well and the relationship between poetry and ethics has also been troubled for a long time. How can it be probed, interrogated, and constructed in ecological criticism? Attempting to steer some critical focus to the topic of ethics and poetic language, this essay is to elucidate these questions within the ecological traits of Mary Oliver's poems. In the process of revisiting Oliver's poems, this essay tries to rescue the poet Oliver, one of the most gifted poets in contemporary American poetic landscape, but a long-neglected one, and questions of ethics which have been evaded for a long time in ecological criticism. Oliver's ecological imagination at once invites readers to become other in the outer world in a most spontaneous way and re-questions the fundamental distance between the self and the other in the process of becoming other. Challenging the humanistic view of nature, she opens the various layers of becoming other: from the possible state of perfect merging to the sad recognition of the impossibility of merging, from the happy moment of rebirth beyond death, to the conflicting moment of being-together. In the different cycles and levels of becoming other, Oliver's poetry completes the poetics of relation in the components of 'self-in-relation.' In those different layers of relations, the ethics of ecological poetry is newly explored rather than residing in the safe net of goodness or sympathy between the self and the other, or the stark division between the two. Oliver's witty, sensitive, sometimes sad eyes toward others, therefore, entice readers to move from the established view of nature to the extraordinary moment of encountering it, thus accomplishing the ethics of beings, not just of ecological poetry.

• 한국문헌정보학회지
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• 제20권
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• pp.473-491
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• 1991

Summarizing the conclusion of this article is following this: 1. Donginjimun-ouchil(동인지문오칠) published at the close of Koryo, is not only the oldest anthology but also the only one of the same kinds that we have in present. 2. Donginjimun-ouchil is consist of 9 Kweons. We can know the fact through comparing samhansiguegam(삼한시구감), becouse it seems to summerize Donginjimun-ouchil. 3. Donginjimun-ouchil is different from other books and espically has a speial features which in eluding profils about the characters. 4. With additional punctuation marks in profile and critiism marks, we can know the rule of punctuation mark and at the same time it can give many assistances to the study of poetics.

• 한국실내디자인학회논문집
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• 제26권5호
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• pp.75-82
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• 2017

The aim of this study is to find phenomenological characteristics in the background and contents of Kenneth Frampton's architectural theories and their contribution to architectural phenomenology. His theories reflect on the interpretations of Modern architecture synchronically and diachronically. This difference makes Frampton have more concrete direction for architectural phenomenology. Hanna Arendt, who contribute to form Frampton's architectural theory, introduced various concepts of Heidegger's phenomenology to Frampton. And criticism of image centered late capitalism also act as a background for Frampton to relate to phenomenology. Frampton emphasized the importance of 'critical regionalism' and 'tectonic' as a poetics of construction as the resistance of globalization. All of these have relations to 'place' and 'perception' that are main themes of phenomenology. Frampton explains his theory with phenomenological terms and above all things, he assimilates concerns of architectural phenomenology with critical thinking. In these aspects, his theories can be recognized as playing an important role to the development of architectural phenomenology.

• 한국콘텐츠학회:학술대회논문집
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• 한국콘텐츠학회 2013년도 춘계 종합학술대회 논문집
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• pp.81-82
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• 2013

주로 만화를 기반으로 하는 할리우드 슈퍼히어로 영화는 이미지 위주의 인물서사에 의존하는 경우가 많다. 하지만 이에 반해 소설을 기반으로 하는 슈퍼히어로 영화의 경우, 인물서사 보다는 사건 위주의 서사로 이야기의 흐름이 진행되는 경우가 대부분이다. 이러한 차이는 만화원작의 할리우드 슈퍼히어로 영화와 소설, 특히 고전소설을 원작으로 하는 국내 슈퍼히어로 영화에서 흔히 발견할 수 있다. 이에 본 논문은 국내 슈퍼히어로 영화의 서사구조 특성은 무엇이고 또한 그 한계는 어떠한 것이 있는지, 영화 <전우치>를 통해 분석해 보았다.

• 인문언어
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• 제1권1호
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• pp.295-321
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• 2001

This paper attempts to demonstrate how the linguistic and mythological features of the shamanic language make it incantatory, or ′enchanting′. Passages used in shamanic rites manifest linguistic characteristics that point to their own norms and conventions, as well as some mythological features that contribute to the undecipherablity of the shamanic language. Focusing on the estranged linguistic and mythological features, I propose that shamanic languages can be best interpreted in terms of the linguistic hierarchization, a notion that has been developed since Roman Jakobson′s poetics. The present study adopts Eisele′s framework that reinterprets Jakobsonian hierarchization into a slightly revised notion on the basis of the "degree of combinatorial freedom" and the "degree of semantic immediacy", looking into a set of paradigm examples in search of some parallel structures characterizing the shamanic language. The enchanting effect of this peculiar form of language, it is argued, is due mostly to the frequent use of lexical parallelism, which works in the reverse direction of the normal process of interpretation.