• Korean Journal of Childcare and Education
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• v.13 no.2
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• pp.59-80
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• 2017

Objective: The purpose of the present study was to find out the development of 4-year-old children's emerging poetry composition process and features of poetic expression through their own forest experiences. This research also aims to explore the possibility of alternative poetry education for early childhood. Methods: This study collected data from one class of four-year olds through classroom observation, interviews with teachers, and the researcher's journal entries on events that occurred during forest walking activities. Results: Research findings showed that it was possible to encourage free expression of metaphors and imagination in children and they were able to share excitement about poetry with their classmates when provided with an alternative environment. One remarkable finding was that children's spontaneous writing and pleasure in poetry did not continue when given the new theme of 'Mom and Dad'. Conclusion/Implications: The results imply that to encourage the development of children's intuitive poetic words we need to be interested in how to organize and highlight the experiences of children. This study also suggests that positive methodological and teleological changes are needed for poetry education that is separate from language education.

• Sijohaknonchong
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• v.21
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• pp.5-22
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• 2004

If Sijo poetry is referred to a text which is composed of sentences. its textuality can be explored in terms of 1) the figurative words used in each line. 2) the logical sequence between lines. 3) the syntactic composition of each line. With the ancient Sijo poem. 1) it is composed of logical sentences as a result of extremely restraining from using figurative words that could prevent the reader from grasping the logical sequence within the work; 2) there is a clear cohesion between lines that can make each work perfectly coherent; 3) each line has a balanced syntactic structure, so the entire structure of a Sijo poem is '6 phrases in lines'. With the modem Sijo peom. 1) it abounds in figurative words, which prevent the work from having a logical sequence, and sometimes even from having three lines; 2) there is a loose cohesion between lines which can't make each work coherent; 3) it sometimes destroys the syntactic structure, '6 phrases in 3 lines', unique to traditional Sijo poetry. I think that this trend of modern Sijo poetry can cause haphazard the existence of modern Sijo poetry.

• Information Systems Review
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• v.25 no.3
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• pp.43-57
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• 2023

In this study, we developed an AI-based system to generate sentences that assist in creating Korean poetry. Instead of replacing the creative aspect of composition, which is considered a unique domain of humans, the focus was on generating foundational sentences to enhance human imagination efficiently. By conducting interviews with poets, the researchers extracted sentences from eight distinct datasets, enabling the generation of poetry across eight different genres. This study stands out for its innovation in developing a method for crafting literary works in Korean. Its significance lies in its potential to facilitate the creation of diverse literary forms such as essays, prose, or novels.

• (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.

• The Journal of the Korea Contents Association
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• v.22 no.4
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• pp.714-726
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• 2022

The purpose of this paper is to find out the way of utilizing phrases of Chinese poetry in Manjeongje and its musical characteristics. To this end, the roles of phrases contained in the Pansori words were classified into five patterns: landscape description, strengthening of pleasant emotions, strengthening of sad emotions, wordplay, and combination of various poems. As a result of analysis, phrases quoted in sad mood part consist of slow rhythm of Jinyangjo and Jungmori, and sad melody of Gyemyun-gil and Jingyemyun tone; thus, both the rhythm and melody are expressed in accordance with the mood of poems. On the other hand, the melody in the landscape description parts, and the rhythm in the joyful feeling and wordplay parts showed the characteristics of determining the mood. In addition, when applying the analysis results to the perspective of Pansori composition, it is necessary to discover novel texts, apply to editorials, and study musical implementation suitable for the original mood in order to create more artistic Pansori.

• 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.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.

• Journal of Korean Classical Literature and Education
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• no.34
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• pp.115-147
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• 2017

This paper compared and reviewed the poetic theories and Chinese poems of the Korean author Kim Chang Heup and his Japanese counterpart, Kan Chazan. Kim Chang Heup and Kan Chazan shared largely the same opinions on poetry, and both rejected archaism. First, they did not just copy High Tang poetry. Instead, they focused on the (sometimes trivial) scenery right in front of them, and described the calm feelings evoked by what they had seen. They also adopted a sincere tone, instead of an exaggerated one, because both believed that poetry should be realistic. However the differences between the two poets are also noteworthy. Kim Chang Heup claimed that feelings and scenery meet each other within a literary work through Natural Law, and the linguistic expressions that mediate the two are philosophical in nature. However, Kan Chazan did not use Natural Law as a medium between feelings and scenery. Instead the Japanese writer said the ideal poetical composition comes from a close observation and detailed description of scenery. In sum, while Kim Chang Heup continued to express reason through scenery, Kan Chazan did not go further than depicting the scenery itself. In addition, Kim Chang Heup believed poetry was not only a representation of Natural Law, but also a high-level linguistic activity that conveys a poetic concern about national politics. As a sadaebu (scholar-gentry), he held literature in high esteem because he thought that literature could achieve important outcomes. On the other hand, Kan Chazan regarded it as a form of entertainment, thereby insisting literature had its own territory that is separate from that of philosophy or politics. In other words, whereas Kim Chang Heup considered literature as something close to a form of learning, Kan Chazan viewed it as art. One might wonder whether the poetics of Kim Chang Heup and Kan Chazan reflect their individual accomplishments, or if the characteristics of Chinese poetry that Korean and Japanese poets had long sought after had finally surfaced in these two writers. This paper argued that the two authors' poetics represent characteristics of Chinese poetry in Korea and Japan, or general characteristics of Korean and Japanese literatures in a wider sense. Their request to depict actual scenery in a unique way, free from the ideal model of literature, must have facilitated an outward materialization of Korean and Japanese literary characteristics that had developed over a long time.

• The Journal of the Korea Contents Association
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• v.22 no.10
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• pp.103-113
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• 2022

As globalization progresses and localization takes place, interest in local culture is increasing. In line with this trend, the Cultural Heritage Administration has been promoting the Cultural Heritage Night Tour Project as a night-type cultural property tourism content since 2016. Cultural property nightlife, part of the regional regeneration project, creates new added value by converging and combining various historical and cultural-related contents centered on local cultural heritage. Although the "cultural nightlife" has been greatly activated, it is judged that changes are needed to continue. This is because fixed nightlife programs are positive in terms of establishing a nationwide network, but there is a limitation in that they cannot be standardized and expanded to various forms. Therefore, in this study, the meaning and limitations of nightlife programs were identified, and cognitive theory applicable to nightlife programs was considered. Through this process, it was confirmed that cognitive poetry's 'circular for dynamic semantic composition', 'surreal foreground', and 'adventures in time and space' can be applied to nightlife programs. As a result of combining cognitive poetry with nightlife programs, it was possible to present a strategy for implementing nightlife programs differentiated from existing nightlife programs.

• The Journal of the Convergence on Culture Technology
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• v.10 no.3
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• pp.289-298
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• 2024

As digital mobile technology has advanced, vertical videos have emerged as a prominent format in the contemporary media field, presenting a new visual language that challenges traditional horizontal-centric aesthetic norms. This study delves into the visual and structural parallels and distinctions between traditional East Asian Hanging scrolls and contemporary vertical videos by applying traditional spatial composition techniques such as the 'Three Distances', 'One River, Two Banks', 'Intended Blank', and 'Unity of Poetry, Calligraphy, and Painting' to the creation of modern vertical videos. Through this comparative analysis, the research examines how vertical layouts enhance depth and layering of the screen, deepen emotional expression, and offer creators new avenues for expression. By juxtaposing the spatial compositions of traditional East Asian Hanging scrolls with those prevalent in today's digital vertical videos, this study seeks to uncover new visual languages and aesthetic values within the evolving media field.