• Lingua Humanitatis
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• v.2 no.1
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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.

• 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 Korean Classical Literature and Education
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• no.15
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• pp.329-353
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• 2008

Tasan Jeong Yak-yong is great scholar, who makes a synthesis of Sil-hak[實學, Practical Science of Korea], reformer of society, and a poet in the Joseon Dynasty. He expressed contradiction and conflict of those days by intellectual language, and reperceived basic ideology of the Joseon society. Also he theorized dissatisfaction of the people about those days and its system as form of religion. We can divide Tasan's life into two times. The first part is his ages 16~39 in the period of Jeong-jo(1777~1800). The second part is in the period of Sun-jo(1801~1834). In this period, he was exiled into Gang-jin for 17 years. After banishment, he lived a quiet life for the rest of his life in his hometown. His allegoric poetry were written in this second period. The special feature of allegoric poetry is strong satire. An allegory would be that is 'king's ear', which the barber has sight, or the barber's voice, which has divulged king's secret among the bamboos. Otherwise it would be that is the sound 'king's ear is donkey's ear' in the bamboos. This sound is divulging of the true donkey's ear. It doesn't travel to audiences, but travels trough wind in the bamboos. The narration exists just as story that barber can't stand to keep silence about king's secret. There are exposure of true and critical motive as allegoric expression. Tasan's allegoric poetry stand on the basis of his love for the people. Also there reveals his thought deeply with an enormous amount of reading and self-communion. Moreover there are his warm mind with his sharp insight in which captures alive lives as allegoric materials. Most of allegoric poetry satirize actuality of those days to make an excuse for external distinguishing marks of animals and plants. However Tasan's poetry are different from them. After he grasped serious problems from his contemporary actuality, and then choosed allegoric media to express correctly. Because he grasped the special features of lives after minute observation, he could exposure controversial point of the actual. His sharp insight was not limited to allegoric media. He noticed his period and the current of his society sensitively. It made his allegoric poetry as important materials to make us to know the condition of the people in the Joseon Dynasty. Tasan's allegoric poetry is inherited by Baek Seok[白石, 1912~1995] as regular juvenile literature. Baek Seok's juvenile stories are the results of expansion and transition for Tasan's allegoric poetry. Allegoric poetry was the shout of barber to prosecute about social irregularities and contradiction, and the sound of the bamboos to travel moaning of the people in the past. Now allegoric poetry create new emotion to make us to speculate ourselves with our surrounding. This changes are caused by special feature of allegoric poetry as a form to reflect our general lives.

• 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.

• Lingua Humanitatis
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• v.8
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• pp.95-127
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• 2006

This paper is a study of "poetry therapy", a subject now in lively in literary discussion circles. Modern literary text attaches great importance to the readers' response. As such, there is growing interest in the effects of communication brought on by the interaction of participants in a discourse. Poetry, in essence, has therapeutic attributes of treating, through an aesthetic psychology, destruction resulting from the alienation from life and psychological pain of distortion. The rise of the concept of eco-poetry and the capacity for psychological cleansing and adjustment (which restores balance through communication and psychological circulation) is a reflection of new trend in research - approaching the alienation felt by modern people through restoration of sense of life. Although Kim Hyun-seung's life and the road his poetry took was not smooth, he nevertheless was firm in his sustained effort to unify socio-ethical conscience and conscience of faith through the process of spiritual inquiry. The most outstanding aspects of Kim Hyun-seung's aesthetic achievement lie in his contribution toward the therapeutic capacity of modern poetry. Kim Hyun-seung's poetryhas the following effects: 1)The therapeutic capacity of modern poetry, through catharsis at large, does not remain only at the level of cleansing and adjustment. 2)The therapeutic capacity of modern poetry has the function of emptying out the self through more fundamental spiritual awakening and insight. 3)Only then can one truly realize the transcendence of being a true self as well as the balanced inquiry of spirituality which can be described as "emptying out".

• 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.

• 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.

• (The)Study of the Eastern Classic
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• no.70
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• pp.9-31
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• 2018

Houshan's Comments on Poets and Poetry by Chen Shidao, one of the most famous comments on poets and poetry in the Northern Song Dynasty, is regarded as the early masterpiece of the literary critic genre called comments on poets an poetry. In particular, the theory on poetry of Houshan's Comments on Poets and Poetry reflected the overall literature fashion of the Song Dynasty, and captured the typical arguments of poetics in the Song Dynasty. The poet's character-building and accumulation of knowledge, the study of Du Fu and other poets and a quest for "No Trace" reveal the practice and aesthetics of the poets in the Northern Song Dynasty. So far, Chen Shidao has been known as a formalist poet, and he has actually focused on learning the rules of verse and learning classical poetry. But the final goal of his theory on poetry was a free creation, not the strict rules. He just thought that he could get the freedom of creation by constantly learning rules and building a poem. Therefore, his comments in Houshan's Comments on Poets and Poetry can not be regarded as simply formalist views. Because he wanted to achieve his ideal freedom of creation with elaborate formats and content.

• 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.

• Journal of Korean Classical Literature and Education
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• no.16
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• pp.65-90
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• 2008

This study is on the reading method of Korean old poetry in the digital age. Now days, we are living in digital media. The method of getting, organizing, and producing information is changed a lot. So for keeping pace with this change, we should reflect our teaching method. Of course, the purpose of our reflection is not to follow digital media's method and change or alter existing reading or teaching method, but it is to identify proper own reading strategy of old poetry and adjust existing method for our student who are skilled with digital media. We propose three kinds of method for student readers in school. These are 1) starting like a newspaper reader, 2) getting context (reading, making hyperlink), and 3) figuring as an architect (reading as space or scenery creator). In addition, we think about recent tendency that Korean old poetry is de-constructed and re-constructed as digital contents in digital space. We call it digitalizing of old poetry. The experiencing old poetry as a digital contents is different from reading old poetry, so we cannot alter old poetry reading experience into experience of digital contents. In conclusion, digitalizing contents should be used restrictively to fertilize reading experience of original old poetry.