• International Journal of Computer Science & Network Security
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• v.23 no.3
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• pp.208-214
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• 2023

Globalization and the development of technology have turned creativity into a necessity. Numerous countries consider creativity to be the major model of economic development. In this era of the knowledge-based economy, creativity is becoming a catalyst for the development of millions of people around the world. Irina Bokova, the former Director General of UNESCO, has stated that the cultural and creative industries have a capital of 2 250 billion US dollars, almost 30 million jobs worldwide in the economies of advanced countries and developing countries (Cultural Times, 2015). Copyright is a branch of intellectual property with a wider scope, forasmuch as it applies to every product of literary, scientific and artistic works in all forms of expression, relating to certain levels of originality.

• American Studies
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• v.42 no.1
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• pp.1-22
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• 2019

This paper suggests a genealogy of romance in Chang-rae Lee's Native Speaker, A Gesture Life, and The Surrendered. A flexible textual performance and literary strategy spanning issues of beauty and love, romance in Lee registers the writer's distinctive diasporic negotiation with sites of departure and arrival, in particular with traumatic histories of the m/other country. Native Speaker resolves the crisis of public immigrant love within the compromise in the domestic melodrama. As Lee turns to the scenes of historical trauma in the twentieth century transpacific, romance becomes a key strategy through which his aestheticized framing and deframing of comfort woman is performed and the Korean War finds odd comfort in the aesthetic energy of perverse care in Italy. Through the dehistoricizing movement outside of the historical into the realm of myth and nostalgia, Lee's diasporic romance breaks away from mandates of representation and works within the excess of mistranslation.

• The Journal of the Convergence on Culture Technology
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• v.1 no.2
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• pp.21-36
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• 2015

This study is a descriptive study to examine how poem causes effects of literary treatment for the contemporary people and how to improve therapeutic effect with poem by illustrating the process of therapeutic effect by poem. Each poem in the poetry book has a well-organized flow. While those poems are mixed, it can be synapsed into the cognitive system of readers by their taste in the form of introduction, development, turn, and conclusion.' The poetry book is structured with the transition of literary treatment. Such transition structure is embodied in a circle. If poetic contents are positive and creative in such transitive structure, it gives more comfort and excitement to readers increasing therapeutic effect. Therefore, it is very important to progress literatherapy narrative with such creative works.

• The Journal of the Korea Contents Association
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• v.16 no.12
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• pp.151-159
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• 2016

The discussion was started from the question about how literary linguistic expressions are reproduced in the movies. This study focuses on the cinematized version of Jelinek's "Die Klavierspielerin", the by Michael Haneke. and looking for cinematization of literary works and these aesthetic values. The original delicately describes the life of Erika who has been living under the supervision and control by her mother. The topic of the is the conflict between the controlling mother and the desires of the heroin Erika who has been living under the suppression. The world of suppression symbolized by her mother is described as closed and dark space while the world of Erika and her desires, represented by Walter is described as open and bright space. The life of Erika living under control symbolized by prison-like double doors, iron-barred window, darkness and shadow is abnormally distorted. Even the piano that must be the center of her life as a pianist is also one of the symbols of dark world of suppression.

• Journal of English Language & Literature
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• v.57 no.2
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• pp.191-215
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• 2011

This paper aims at investigating Dorothy Wordsworth's later conversation poetry, which has not been the focus of critical discussions on her literary works. While many critics have been emphasizing Dorothy Wordsworth's journals and the tendency of self-effacement in her prose, this paper argues that her later poetry often reveals acute self-consciousness about the circumstances that condition this self-annihilation and searches for a creative way to endorse her own identity. In "Lines Intended for My Niece's Album," she expresses anxiety and uncertainty about the inclusion of her poetic piece in Dora Wordsworth's album, which contains poems by prominent male writers of the contemporary period. "Irregular Verses" presents Dorothy Wordsworth's self-conscious narrative of her girlhood and shows how her own ambition to become a "Poet" has been stifled by external circumstances, including the ideology that instills the idea of proper womanhood into aspiring girls. While these poems examine contemporary gender discourse and the frustrated poethood resulting from it, other poems activate conversations with William Wordsworth's poems and thereby provide a revisionary re-writing of her brother's texts. For example, in "Lines Addressed to Joanna H." Dorothy Wordsworth becomes "a woman addressed who herself addresses others." Her scrupulous approach to her own addressee refuses to subordinate the other to the self's will, and through this revision of "Tintern Abbey," Dorothy Wordsworth vicariously liberates her own self confined in her brother's poems. "Thoughts on My Sick-Bed," which echoes "Tintern Abbey" through borrowed phrases and direct address to William Wordsworth, foregrounds her own poetic identity in the form of the first-person pronoun "I." Dorothy Wordsworth's continual illness during this period of her life paradoxically allows her the time for personal reflection formerly denied to her in her busy life constantly occupied by physical and spiritual labor for others. Instead of earning satisfaction from the subsumption of her creative energy under William Wordsworth's poetical endeavor, Dorothy Wordsworth finally starts to affirm her own poetic identity that can properly express her inner vision and artistic talent. Although this final affirmation remains largely incomplete due to her later mental collapse bordering on madness, it powerfully conveys the hidden literary aspiration of the formerly frustrated female poet.

• English & American cultural studies
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• v.18 no.2
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• pp.79-104
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• 2018

Chung Ji Yong is a well-known poet in the Japanese Occupation Period firstly as a lyrical and traditional poet as a member of the literary journal Simunhak(Poetry Literature) along with Park Yong Chul and Kim Young Rang and later as a prominent modernist poet in the late years of the Period. He is always highly estimated as a poet of pictorial images and lyricism, but his ardor for translations, especially Walt Whitman has been neglected so far. Before him, Ju Yohan, Yi Kwang Soo, Yi Un Sang, Kim Hyung Won and many other poets and critics had been interested in Whitman's democratic ideas and his poems. Chung Ji Young also translated Whitman's three poems in the hard days of 1930s. After the Imperial Japan surrendered to the Allied forces on 15 August 1945, ending 35 years of Japanese occupation, Korea was under the American forces and Russian troops. In this critical days of Korean's debating only one korea or separated Koreas, strangely enough, Chung ji Yong fully immersed in translating Whitman's poems only for four years as an English literature professor just before being abducted by North Korean Army, while almost discarding his own poetic ability and sense of duty as a leading poet in the literary circle with only just a few exceptions. Why did Chung Ji Yong focused on the translation of Whitman's poems in this important period as a poet and intellectual in the newly independent country? He may want to warn people too much ideological conflicts or at least express his frustration through translating Whitman's poems. Until now, academic endeavors on Chung Ji Yong's poems and life are focused on his lyrical and modernistic works of the Japanese Occupation Period and naturally little interested in the days of Independence period and his true motivations on translating Whitman's poems. As a proposal, this short article can be a minor trigger for the sincere efforts of Chung Ji Yong's last days.

• Journal of Korea Entertainment Industry Association
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• v.13 no.5
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• pp.83-89
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• 2019

Zhang yimou's film "the shadow" adopts a lot of modern literary symbolic content in the story structure. The novel has been greatly modified, abandoning the setting of the original work and making up the historical background of the story, thus completing the discourse practice of aerial literature rather than historical literature. The film expresses the historical story poetically and even writes the personal mind. In this way, the audience's sense of substitution is increased, and a large number of traditional Chinese cultural symbols are adopted visually. In terms of clothing, the most traditional is sought, which advocates loyalty to history, and adds cultural connotation and depth. The audience can feel the bold and unfettered artistic creation spirit of the main creator, as well as the novel and unique visual expression style, which makes his works have both traditional visual perception and modern story content. The combination of traditional vision and modern drama forms a new visual and cultural experience.

• Journal of English Language & Literature
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• v.55 no.5
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• pp.767-792
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• 2009

The two fields, economics of art and literature, tend to be put together as part of cultural economic studies; yet the former has been widely popular as compared to the latter. Economics of art has been known as part of social science which studies art economically. Similarly, economics of literature is likely to be an interdisciplinary study of literature and economics. Literature is suggested usually to reflect the economic base of a society as a form of its superstructure in view of classical Marxism; so, it is interesting to see social, economic activities, such as individual values and social institutions, income, price and opportunity cost, in a particular way of analyzing economic ideas in literature. Capital seems to have an innate property of self-expansion in literature; this property thus features actual economic life since in capitalism money is the universal value between persons and literary works. Specifically, the field of economics of literature starts with such ideas: economics of literature is part of cultural economics; and economics of literature deals with the economic value of literature. Putting interdisciplinary fields of literature and economics together, this study is to examine the economic value of literature in which Karl Marx talked about commodities with exchange value, use value, and fetishism. The exchange value is commercial worth, the actual exchange value of a publication; yet, the use value is innate worth, the aesthetic use value of literature. With commodity fetishism, profit seems not as the outcome of a social relation, but of a work- "reification" as the would-be Marxists suggest. As a commodity, the literary work appears to be able to animate life and power in reality. As a result, this paper asserts that social, economical activities in literature as we may apply to the study of economics of literature increase its economic value, implying commercial and innate worth, as the capital in the marketplace.

• The Journal of the Convergence on Culture Technology
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• v.9 no.6
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• pp.771-777
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• 2023

This study examines the strategy of using literary works to effectively present the emotions, narrative, and characters of a drama through the drama "I'll Visit You When the Weather is Good" (2020). The drama uses poetry to effectively show the internal conflicts of the characters, allowing the viewers to understand the characters much more closely. It also shows the narrative of relationship change and growth between the characters through the narrative of a fairy tale. On the other hand, by showing still cuts of the characters' diaries in each episode, it creates a lyrical effect, as if watching the drama is like reading a literary work. In this way, the drama "I will visit you when the weather is nice" actively utilizes literature to help viewers relate to the narrative of growth and healing and experience it as their own, thus creating a three-dimensional image of the healing effect of literature.

• The Journal of Art Theory & Practice
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• no.16
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• pp.225-256
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• 2013

As the great catastrophe in the modern and contemporary history of China, the Cultural Revolution(CR) is an object, which must have sutured the past of darkness. At the same time it is a continuous event and also a scar of memory. In other words, for history is "a dialog between the past and the reality"(E.H.Kar), CR intervenes in the reality and, on the contrary, the reality recomposes CR. From this point of view, CR is a historical event, which so far is not ended, and it is an object of memory, which is still being composed at the moment. As the saying: "Poetry is greater than history"(Aristoteles), artistic works more intensively reflect the past. The works related to CR can not be an exception. And CR is endlessly exposed in the contemporary Chinese fine arts and the works of the contemporary Chinese artists-Wang Guangyi, Yue Minjun, Zhang Xiaogang and others are proved to be those who suffer from the trauma of CR and who feel no liberty from CR. For example, CR probably is a symbol showing the "identity" of the Chinese artists. And the diversity of the symbol is the experience and pattern of the dialog between artistic works and CR (i.e., intervention in reality). For example, with withering of grand-narrative and appearance of micro-narrative, the CR critical works of Guan Zhoudao were the root of the Chinese fine arts in the late 70s and early 80s. In the contemporary cultural situation, the literary works about CR actively analyzed the history (CR) from the personal point of views and explained in the way of monolog and micro-method led the 1990s' works. In this way they tried to recompose the history "randomly", like looking at reality with their own eyes. In this process, CR is continuously exposing new features and the real facts are appearing before us as unfamiliar phenomena. This is a way of combination and "reappearance" of contemporary arts and reality. In conclusion, the purpose of this article is to make it possible to see a section of the contemporary Chinese fine arts through the study of the icon image of CR and to analyze the way of fine arts recomposing the history and the intervening in the reality. In this sense, the author has entitled the article "Icon and Form". It means how to reshape (the present) the typically formed icon of the CR (the past).