• The Journal of the Convergence on Culture Technology
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• v.4 no.3
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• pp.133-138
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• 2018

This study examines how Gosijo's sentiment flows into modern poem. Therefore, it has the purpose of utilizing the healing devices staying in the gap between Gosijo and Modern poem for literary therapy. Gosijo's extreme solitude and calm are invaded into modern poem, producing a sleepless night of solitude. The sentences with the emotions of Gosijo are different in modern poem, but the Gosijo and modern poem share the same emotions. These literary devices provide a sentiment of healing to modern people. This study will contribute to the activation of literary therapy in the future.

• Journal of English Language & Literature
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• v.55 no.2
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• pp.359-382
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• 2009

Eliot's The Waste Land represents the last century in many respects. While working on the poem in cooperation with Pound, Eliot intended to make "Gerontion" a prelude in The Waste Land. But, as we read in his letter to Eliot, Pound advised him against it. As a result, Eliot had excluded it from The Waste Land. "Gerontion" was published separately, as an independent poem. Between "Gerontion" and The Waste Land, we find that the theme and the techniques are very much alike. However, for this very reason Eliot and Pound must have had thought differently. Eliot must have thought that "Gerontion" would serve well as a preface to the long poem, The Waste Land. It will provide a good introduction to the long poem, he may have thought. In the meantime, Pound must have thought that such similarities in theme and techniques would weaken both works, which would be redundant. To Pound, it would be too much to have the summary of everything that is to be repeated in The Waste Land. Eliot intuitively followed Pound's judgment. Both "Gerontion" and The Waste Land have similarities in theme and techniques. The theme of both works is "aimlessness, spiritual sterility, barrenness" in modern man living in the waste land. For example, in "Gerontion," there appear an old man Gerontion, Mr. Silvero, Hakagawa, Madame de Tornquist, Fraulein von Kulp, who are representative of spiritual barrenness of modern world; in the same context, in The Waste Land those who are most representative of modern world are the Typist, clerk, Thames's daughters, Madamn Sosostris, Tiresias, Phelabas. And in terms of techniques, "Gerontion" and The Waste Land both use dramatic monologues, allusions, and the techniques of modern art, such as montage and mosaic. Here in these works Eliot in fact practises his theory of the "Objective Correlative" that he has invented.

• Korean Journal of Oriental Medicine
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• v.18 no.2
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• pp.17-24
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• 2012

Research on Seokgok(石谷), Lee Gyu Jun(李圭晙, 1855~1923)'s thought and medicine was progressed from various angles. There is no research on Chinese poem(漢詩) accounting for the half of his collection of literary works, "Seokgoksango(石谷散稿)" yet. Hence, the article reviewed concerns on his life and what life he lived as a Confusion(儒家) writer through his Chinese poem. Should read "Seokgoksango", Seokgok's spiritual orientation and attitude to life were found to have its core in the Confusion(儒家的), especially ethical(道學的) aspect. Seokgok's Chinese poem materialized his spiritual composition more, able to access up to general emotional state, representing concerns and frustration of intellectuals in the latter era of the Choson Dynasty. Anxiety consciousness(憂患) of patriotism and love of the people which traditional intellectuals implicated enough at the turbulent era of early modern time appeared strongly in his works. Also works seeking for devotion(歸依) toward the clean world(淸明世界) staring at the corrupt world losing the national sovereignty at the same time and the expansion(擴散) was able to be found many. The latter half of the 19th century and the early 20th century when Seokgok lived was the period of changeover in the history of civilization called intersection between traditional era and modern times. His Chinese poem showed traditional intellectuals' anxiety, frustration, conflict, and hope based on such times. Along with the status of an Oriental, medical doctor and thinker, up to discussion on the quality of a writer, the intensified research on him is expected.

• English Language & Literature Teaching
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• no.4
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• pp.249-267
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• 1998

"The Waste Land" is Eliot's best known poem. It was first published in 1922 and became a famous poem in modem poetry by the 1940's. The poem is a statement of his personal experience with spiritual crisis, this simple outline is complicated and universalized by being set within the structure of 'the Fisher King legend'. The fisher King legend was studied by Miss Weston in From Ritual to Romance and Sir James Frazer in The Goldon Bough which traced the vegetation myths. It explained the cycle of the seasons in relation to the death and rebirth of a god. The god died in the winter with the death of the vegetation and was reborn in the spring with the rebirth of the vegetation. Sir James Frazer reaced these ancient rituals within the Christian world. He indicated that the death and rebirth of Christ falls within the pattern of this ancient ritual. Also Miss Weston transformed that ancient ritual into Christian terms, and connected it with the Quest for the Holy Grail. Eliot used not only the title, but the plan and a good of the important symbolism of the poem from these two books. "The Waste Land" is a difficult one because of the numerous interruptions in the narrative. On the superficial level, the story covers a 12-hour period in a day. It is also in "the stream of consciousness." It might be called the internal monologue; that is, "the free association of ideas in the mind of the narrator," Eliot experiments with both the idea of time and with the stream of consciousness, He employs a number of quotations and allusion from the Classic literature. So, his technique in "The Waste Land" consists of the juxtaposition of the present with mythcism and religious symbolism derived from the past. The structure of the poem is built out of the contrasts in time. The poem illustrates his conception of the past as an active part of the present. "The Waste Land" has "a symphonic structure" composed of five parts, which are linked by the repeated themes. The theme is the death and salvation of the Waste Land. It is drawn from the Fisher King myths. Moreover, he has absorbed into the structure of this poem the language, phrases, and associations of other writers. It gave the poem the universality both of theme and of pattern. Also, his intricate and fine techniques added the universality to the poet's personal material. At last, the verse pattern of the poem follow the same basic structure as the thematic patterns. Again in symphonic style, the verse varies from section to section. The interruption of real time is associated with the flow of consciousness. Though the poem is a complex structure, there are the interweavings of a great deal of ideas into a simple, brief statement. By these poetic techniques the poem manages to have good harmony and unity between the thematic pattern and narrative structure. "The Waste Land" therefore, became the greatest poem in the 20th century modern world.

• Korean journal of applied entomology
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• v.58 no.2
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• pp.121-127
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• 2019

The discipline that deals with the role of insects in various activities that affect human aesthetics is called cultural entomology. This study investigated the kinds of insects appearing in modern traditional three-verse Korean poem, Sijo from the perspective of cultural insects. The subject literature surveyed 6,604 works and examined insect words. Among them, there were 215 works that appeared insect words and there were 26 works containing insect words in the title. All of the insect words appeared 257 times and were distinguished by 30 kinds of insects. The most commonly used insect words appeared 57 times as a butterfly, 45 crickets, and 44 insects. Studies in the field of cultural entomology will be needed through various works of art.

• (The)Study of the Eastern Classic
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• no.70
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• pp.157-183
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• 2018

Mokjae Lee Samhwan's "MaengHoEum" is the three poems of the Chinese quatrain of 5word 7poetry created according to the previous age. This poem is distinguished from the poem of the general "MaengHoHaeng" series because of it was created in the form of modern-style poetry of series, not a poetry of 5word or 7word or length phrase in a poem. The "MaengHoEum" of MokJae seems to have been built around 1801year when he was 73 years old. Therefore, his "MaengHoEum" can be called an allegory poetry or a society poetry and his poetry can be said that it was created under the criticism of the corrupt political power of the contemporary society, and the 'fierce tiger' which appeared in his poem refers to the factions of Noron Byek line which was the ruling power at that time. However, if you look at the "MaengHoEum" of MokJae, you will see a criticism of the real world, but the feeling is not intense or the description is not concrete. Although his poetry depicts the absurdity of the present reality, but he does not show positive criticism of reality or strong resistance. This characteristic, which can be seen in his poem "MaengHoEum", is the result of the study he pursued for the his life and is thought to be due to the weight of reality. The contradictions of the time of the Mokjae were never silent to him, but on the other hand he could not reveal his own struggle on the surface of the poem. Between his descendants, influenced by his actions, and the stinging gaze watching him, he had no choice but to end his feelings internally.

• The Korean Journal of Applied Statistics
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• v.20 no.3
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• pp.585-595
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• 2007

The squared Euclid distance of the values which is transformed by P-matrix of Ahn et al. (2003) is in proportion to the squared Euclid distance of cell's relative frequencies in two Contingency Tables. We propose the method of using the PP-values for the analysis of modern poems and questionnaire data.

• Journal of English Language & Literature
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• v.64 no.1
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• pp.135-150
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• 2018

Focusing on the hermeneutic instability of a key word of Paradise Lost, "wander," this study attempts to situate John Milton's early modern epic in the longue $dur{\acute{e}}e$ historical transition from seignorial to capitalist mode of production, especially the displacement and reorganization of producer population, a corollary of early phase of modernization. The historic experience of vagrancy and its normalization, and the concomitant shift of the primary human sociability from given to voluntary bonds, I suggest, shape and inform Milton's early modern rewriting of the Biblical story of the fall and his revising of the heroic epic romance into a plebeian romance of a wandering, companionate couple. While building on the critical consensus on this poem's deliberate distancing from the tradition of classical epic and chivalric romance, this essay argues that Milton re-appropriates and re-channels the aspirational aspect of chivalric wandering, or mobility, for his plebeian heroes, a companionate conjugal couple. The hermeneutic instability of the word wander, this essay suggests, captures the duality of the historic experience of vagrancy, both the tragic experience of displacement and the liberational and uplifting dimension of that experience.

• 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.

• Archives of design research
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• v.15 no.3
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• pp.259-270
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• 2002

In 1995, When people read a poem, the image that a poet intends to convey to readers shows in various colors according to the status of their emotion. Poetry is a bridge as well as a text, which connects this world and the poet's world. In such relationship, the communication through Types occurs. The realm of application of modern typography is widening due to the development of the Internet and mass media, and the ways of expression of which are changing with the help of lots of softwares. So, the modern typography is re-born as an organic language which is alive, breathing. Therefore, Types has the structural character similar to that of Typography, which is a language of image, creating today's movement, time, and space. The already existing poetry contains meanings but has a descriptive structures. On contrary, compared with the former, the type appeared in Hangul Concrete Poetry., itself is a poem in another realm due to the formality native to Hangul, and which appears in non-linear structure. So, in this thesis, I will analyze the formality and non-linear structure of Hangul Typography in order to widen the realm of research on typography, which is a very meaningful trial to visualize the literature.