• Cross-Cultural Studies
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• v.50
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• pp.77-101
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• 2018

Even in our modern era, the projection of monsters in the recent literature contains the critical imagination of human existence for the posthuman age. The meaning of the monster-abject, especially as from the perspective of feministic criticism, contains criticism of the violent and oppressive patriarch as observed in the modern times. This article focuses on the gendered imagination of the discussions of the "abject" discussed by Julia Kristeva, and the "monstrous femine" discussed by Barbara Creed. Kim Eon-Hee's poems and Han Kang's novels, which have been examined extensively for analysis, show that the practical strategy of abject that goes beyond hate and sublime, wonder and joy through the imagination and concepts of monsters. The monster-abject strategy of Kim Eon-Hee's poem can be summarized by the narrative method of mirroring and the imagination of the truncated body. Mirroring falsification, which mimics the male speaker, is a method that some feminists strategically utilize in relation to the problem of female aversion in recent years as noted in the literature. In Kim Eon-Hee's poem, "becoming a man" and "imitating a man," through the method of mirroring appear as an image of cutting to dismantle the body. In that way, the narrative strategy of the abject that draws out abominations and bizarre effects which contains a strong critique of the patriarchal dominant ideology. The monster-abject strategy of Han-Kang's novel is embodied through the being of plants and the process of vegetarian-anorexia process. The world of the adject which was oppressed in the Han-Kang's novel, returns to the senses of the body through the symbol of the body. It is noted that the fictional characters who realize the repressed desire through the pathological symptom expressed by the female, go on to body perform active transformation. The sense of a body in a novel is not only a rejection of the world of animalman-civilization, but also a radically questioning of the noted and recognized boundaries between human beings and non-human being entities. The two writer's works show that the imagination of the monster-adject is not limited to rejecting the existing gender categories, but also goes in the direction of exploring the possibilities of various associated gender actions.

• (The)Study of the Eastern Classic
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• no.62
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• pp.117-143
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• 2016

This paper aims to reveal the thoughts of Confucian Hong chanyu illuminate the literary activity. Hong chanyu is representative of the modern and contemporary Confucian scholars. In chapter 2, a Confucian scholar said the spirit of the Hong chanyu. He was considered unnecessarily cause and form. He thought it was a real need and times of where they live. Hong chanyu it was called moderation. Chapter 3 examined the literary activities of the Hong chanyu. One section made of a Chinese poetical circles for background. Gwansu meeting was created in winter 1976. member was of 13 people. They visited the natural scenery and historical sites found. And it was expressed written poetry.Section 2 says what kind is this Chinese poem they have created. The first is the content eulpeun history. The second is more satire in the world. The third is content to enjoy the tasteful in nature.

• Sijohaknonchong
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• v.24
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• pp.5-46
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• 2006

Korean verse has flexibly changed its form and contents according to the historical background of the times. This fact arouses reader sympathy because it has reflected ideas, historical aspects and realities of the times. However, korean verse has kept its own characteristics in some ways, allowing it to exist today. It holds its form as 3 verses of three by three or four meter and three letters of the last of three verses. It makes every different version which has specific aspects of each times in the same 'sijo' area. 'Sijo' in Korean poems, is the first form that has been changed from formal to private functionally. As a result of that common verses in the Goryeo to Joseon eras were going with the stream of the times. Verse was the plate for justice so that there was no double meaning, symbols, or technical sentences. It had to show the idea of Myungchundo Jwonginryun. The theme was commonly fitted within certain areas. such as blessings, fidelity, devotion, etc. Around the end of the Joseon era, there was activation of private verses - a form of sijo with no restrictions on the length of the first two verses. Some ideas had been changed because Sarimpa gained power, domestic conflict, and the introduction of practical science. These things had an effect on the form of Sijo. After all, it shows the ideas of collapsing feudalism, resistance of confucian ideas, equality of the sexes, and opposition to the group who rule the government. Thus Sasul Sijo seems to have the tendency of resistance to reality. It was a specialty of realism poetry It explained our life in detail and reflected real life by being an intermediary of realism. This met and represented the demand of a reader's expectations. After 1905, there was new form of sijo that is very different, in form and content, from the previous versions. It was even different in areas of what people accepted. They started to think sijo was not the form of lyrical verse that is once was. It became a 'record of reading'. The form changed to 'hung or huhung' that satirized the times and the ending of a word in the last verse. Although this form could deliver the tension in statement, it was too iu from the original form. Therefore, it didn't last long, and its position got smaller because of the free verse that had western influence and was emerging in the times. In the middle of 1920, there was a movement of Sijo revival. It was lead by Choinamsun. He wrote poems and Sijo which were effected by western ideas in his early works. Although he worked with that, he took the lead in the movement of Sijo revival. He published the collection of Sijo $\ulcorner$Baekpalbunnwoi$\lrcorner$ that has one major theme-patriotic sentiment. He thought an ancient poem was a part of racial characteristics so that he expressed the main theme which represented the times and situations of his era. Modern Sijo is difficult. Sijo has to have modern and Korean verse characteristics at the same time. If it considers a modern aspect too much, it could not be distinguished from sijo and free verse. If it overly leans toward Sijo. it would seem to be too conservative which it then could be said to have no real charm of a poem. In spite of these problems, it is written constantly, because it has its own specialty. It has been focused on some works because they reflect awareness of modern times, the democratic idea, and realism. Overall, the authors of Modern Sijo express various themes by using different forms. The more what we can guess in this work, Sijo will exist permanently because of its flexibility. Furthermore, one special characteristic-flexibility of the korean verse will make it last forever and it will be a genre in Korean poetry.

• The Journal of the Convergence on Culture Technology
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• v.6 no.3
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• pp.193-204
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• 2020

According to science technology development, information society has progressed rapidly in the 21st century. Our consciousness and tradition have become entangled in the tide of Westernization. Therefore, the education of Chinese characters was neglected, and Chinese poetry literature was naturally neglected. This led to the abundance of material civilization, however, from the mental aspects, the daily life of modern people became insecure. There is a poet who has lived a lonely life of creation of Chinese poetry in this era. He is a Geasan Kwon Seung Geun(1940~) who writes only poem while being friends with nature. His Chinese poems were revealed through life experiences in nature, which is inspiring sympathy. The origin of his theme is nature. The poetry obtained from nature is rustic simple and pure. Therefore His poems have the style and taste of nature. The Chinese poetry literature of Geasan has been embodied the elements of self-interest, self-satisfaction, self-contentment and living in free at his literatue. On its basis, his Chinese literature has aesthetic boundary of remaining aloofness(自然而然的 超然)·rambling talk, living peacfully and play around with leisure·(閒遠物遊的 閑淡)·deviation rhyme of vividly and beautifully(生趣淸遠的 逸韻) The aesthetic boundary of Chinese poetry of Geasan can be seen as having a depth. This is the aesthetic boundary of Chinese poetry written by this generation in the 21st century.

• Sijohaknonchong
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• v.24
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• pp.259-278
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• 2006

In this study, I've researched the sijo written by Yukdang, Choi, Nam Sun, and Manhae. Han, Yong Woon who were the leading intellectual and the pioneers experiencing the time of flowering and the colonial period. Their lives had the common things in various way. They were involved in Independence movement as the intellectual at that time. They also showed the various activities such as modern poem. sijo, and even Chinese poetry. In this thesis, 1 compared their sijo and considered them. Especially, I've researched the two divided parts focused on the tone shown in the sin one part was focused on the 'lover', and the other was on the 'life'. The summarise which I've researched is as followings. First, I've researched the sijo focused on the 'lover' They have the common things in having the presupposition of farewell to their 'lover'. But there were significant differences as followings. In the case of Yukdang, he expressed the passive tone based upon the despondency and the loss with the absence of his lover. Meanwhile, Manhae tended to reveal the resigned and negative tone based to his lyrical world. The contrasted tone in their poems is considered to have something to do with their realistic matters. There should also be several things to be discussed in the future.

• The Journal of the Convergence on Culture Technology
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• v.7 no.2
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• pp.261-267
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• 2021

The enlightenment project raised in both Korea and China during the modern period worked as a part of the patriotic enlightenment movement against the imperial powers. Among them, "boy" appeared as the subject of enlightenment, and "sea" appeared as a medium. Specifically, through "Boy Discourse," Liang Qi Chao ultimately envisioned a nation for "subjects", and Choi Nam-seon also seeked to overcome the national crisis as "New Korea" and join the ranks of powerful nations. Liang Qiqiao proposes the concept of a "Boy Nation" and an "Old Nation" through boy discourse, and wishing for the development of the "Boy Nation" through "proficiency training". Choi Nam-seon also recognized that the future of the nation depends on "boys", influenced by Liang Qi-qiao's discourse on boys, and argues that Choseon should cultivate skills to become a "Boy Nation". In addition, Liang Qi-chao and Choi Nam-seon actively spread the "boy discourse" through the creation of poetry. Liang Qi Chao introduced the world's geography and history through poetries related to the sea, while at the same time inspiring a sense of challenge to recognize and pioneer the sea as a pathway that connects the world in a broad sense. Namseon Choi also created a poem that directly linked "the sea" and the "boy" to promote the "adventure at sea" and "the progressive spirit of the sea and the boy".

• (The)Study of the Eastern Classic
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• no.68
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• pp.99-144
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• 2017

This paper focused on the narrative and theme of which is one of the different versions of when published in 1910's as a modern printing. Generally researchers regarded different version as a means of research for finding best version. But this paper aimed at the characteristics of different version . This version kept in mind for play(drama), so we could easily find the purpose of change for scenario. 'Yeon-jeong' in is 연정(演訂) in Korean words in Chinese characters. It is sure that this word means that the text considered play(drama). The narrative of also told us that this old novel aimed at the stage. Tendencies are classified four features, first, abundant situation description, second, frequent direct conversation, third, concrete description about direct conversation, fourth, showing poem and appeal for audience. The theme of has an interesting differences in comparison to the group of best version. When main character awakened, this novel showed the most important message. In the group of best version, he awakened to the cloud that he couldn't distinguish anything. But in this novel, cloud didn't appear, in other words, didn't change the scene. Instead, main character realize himself that he changed from Yang-so-yoo to Seong-jin. It is probable that change of process to conclusion aroused reader and audience's sympathy. To sum up, we could know that this novel kept in mind for play(drama).

• Journal of the Daesoon Academy of Sciences
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• v.42
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• pp.143-165
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• 2022

This study is a novel attempt at a fusion of female-authored Chinese poetry and Daesoon Thought. Notably, this has style of fusion has never been attempted in classical literature studies or in studies on Daesoon Thought. This study will also clarify the the key concept of grievance-resolution (解冤 haewon) in Daesoon Jinrihoe through comparison with classical works. Choi Song-seoldang's poetry that was composed in the early 20th century, contemporaneous the emergence of Daesoon Thought, is analyzed here via the concepts of 'tranquility (平 pyeong)' and 'harmony (和 hwa)' under the framework of grievance-resolution for women. An effort is made to find a point of progression towards familial harmony (家和 gahwa) and Mutual Beneficence (相生 sangsaeng). Resentment (恨 han) from the perspective of a woman was expressed in her works such as Wang So-gun's Resentment (昭君怨 sogunwon), Self-Report (自述 Jasul), and An Original Rhyme of Song Seol-dang (松雪堂原韻 Song Seol-dang Won-un). Works such as Wishes on the First Day of New Year (元朝祝 wonjochuk) and A Spontaneous Poem (偶吟 Ueum) expressed the contents of wishing for familial peace. In the process of trying to resolve the grievances (冤 won) of her family, Song Seol-dang faced limitations, and felt resentment (恨 han) for her inability to become a man. She strived her whole life to embody 'tranquility' and 'harmony' as both are crucial components of achieving familial harmony. This thesis has an important significance in terms of academic expansion via the convergence of literature and ideas. In terms of Daesoon Thought, it is meaningful to examine concepts and literature within a context of fusion because this goes beyond research that focuses only on theory or ideology. It is also meaningful to confirm aspects of Daesoon Thought through the life and culture of the still traditional early modern era and to reveal how it still has the present-day significance that transcends time.

• (The)Study of the Eastern Classic
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• no.68
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• pp.145-171
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• 2017

This study aims to clarify the meaning of the Anapji which was one of the scenic places of historical interest during Silla Dynasty and of the Anapbupyeong(雁鴨浮萍) which was one of the greatest seven miracles (Dong-do-chil-gue(東都七怪) through appearance of the Anapji in poems. Anapji lies its original meanings on Anhaji(安夏池) and then it was shortened to Anji(雁池), apji(鴨池) while Dongho(東湖) has also been called since it is located in the South of Gyeongju. As of July 2011, the Ministry of Culture officially renamed Anapji and Imhaejeon Hall Site(臨海殿址) as the palace of Crown Prince-Gyonegju Donggung(慶州 東宮) and Wolji(月池) (Historical Site No. 18) and Wolji became the current name. While pond was made during Munmu of Silla, the name Anapji did not exist. Kim Si-Seup (1465~1471) in the early Chosun period referred to the pond as Anhaji(安夏池) and its name started being called as Anapji in the Geography of Korea (Sinjeung dongguk yeoji seungnam,(新增東國輿地勝覽)(Jungjong 25, 1530). Though modern scholar states that it was being called Anapji since there are always many ducks and wild geese in the pond, they fails to present the literature evidences. The author found the line in the poem -Anapji composed by writer Kim Chul Woo, which means that a wild duck and water bird get in and off the pond on their own and the record saying which means Dong-ho(東湖) from the phrase of Dongho-saw-sar-gi(東湖書社記) of Lee Su In(李樹仁)(1739-1822)-Confucian Scholar of Gyeongju was created due to the fact that many wild geese and ducks are flying over. Based on the facts foresaid, the literature evidences for the name of Anapji are presented in the paper. Anapji is a combined word between the Anapbupyeong(雁鴨浮萍) which is a flooding weed and Dong-do-chil-gue(東都七怪). Dong-do-chil-gue is an ancient form of Modern Eight Scenic Views. Eight Scenic Views -Gyeongju Parlgyong is just well-known as scenic places without grotesque elements Dong-do-chil-gue had before. However, the author also found the passage of Ilseongnok: Records of Daily Reflections saying that Anapji has a clod that is as wide as rock(盤石) and the clod also has moneywort on, which are undulating in the wind and clarified how the Anapbupyeong became one of the one of the greatest-seven miracles Dong-do-chil-gue and why the Anapbupyeong frequently appears in the poems of many writers.

• The Journal of Art Theory & Practice
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• no.9
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• pp.171-193
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• 2010

This paper examines Fernand Khnopff's Symbolism, focusing on the I Lock My Door upon Myself as a manifesto of his artistic credo in style and theme. Its title was originally in English, originating from the poem "Who Shall Deliver Me?" by Dante Gabriel Rossetti's sister Christina Rossetti. I use the term "Social Symbolism" which combines a nationalist perspective with traditional French Symbolism, in order to explain how the image of Bruges is represented in his oeuvre. Symbolism calls for psychological introspection evoking death, love, silence, and solitude and recluse from realty in pursuit of the Unknown and the Ideal. Although Khnopff shared this idea, he departed from symbolist tradition by incorporating a political milieu in his paintings. First, I discuss Khnopff's early stage in the formation of his artistic concept, including his family background as well as his early opportunity to visit the Exposition Universelle in Paris where he formed his early interests in aesthetics, philosophy, literature, mythology and Egyptian art. His early works, La Painture, la Musique, la Poesie(1880-1881), Le Crise(1881), and En ecoutant Schuman(1883) reveal his favorite subjects which were quite prevalent in the symbolist traditions of both Belgium and France. By looking at Khnopff's paintings, I endeavor to situate his Symbolism in the context of the development of Belgian modernity and cultural nationalism. Second, my analysis of Khnopff creates a new overview of Symbolism in Europe, especially in Belgium. In the absence of socio-political integration, the Symbolist painter adds nostalgic meaning to the landscape of Bruges. The scene of Bruges illuminates the social atmosphere in Belgium at that time. Since Belgium became an independent country, it tried to differentiate its own cultural and national identity from France. There was a powerful social movement for Belgium to claim its own identity, language, and culture. Bruges was, for Symbolists, the epitome of Belgium's past glory. This encouraged the formation of Belgian nationalism centering on Brussels, as I demonstrate in Khnopff's Bruges-la-Morte(1892). The relationship between Symbolist artist and writers is crucial for understanding this development. Khnopff, for instance, illustrated or provided frontispieces for many Symbolist writers such as Rodenbach, Peladan, Spencer and Le Roy. Khnopff did not objectify the exact meaning, but rather provided his own subjective interpretation. In this respect, I Lock My Door, inspired by Rossetti, started from the same motif, but Khnopff seeked escape into silence and death while Rossetti searched for Christian salvation. Finally my paper deals with the social context in which Khnopff worked. He was a founding member of Les XX in 1883 and later La Libre Esthethetique he also participated in the exhibition of le Salon de la Rose + Croix. Les XX was not a particular school of art and did not have a uniform manifesto, but its exhibitions focused on decorative arts by encompassing art for all people via common, everyday objects. The Periodical, L'art moderne was founded to support this ideal by Edmond Picard and Maux. Les XX declared art as independent art, detached from all official connections. Khnopff designed the 1890 catalogue cover of Les XX and the 1891 cover. These designs show decorative element of Art Nouveau in an early example of "modern poster." Les XX pursued all art including graphic arts, prints, placard, posters and book illustrations and design. These forms of art were l'art social and this movement was formed by the social atmosphere in Belgium in terms of social reforms and strikes by working class. Khnopff designed the book cover for la Maison du Peuple. The artist, however, did not share the ideal egalitarianism of the working class to a certain degree, while he was working in his villa he designed under the ideal motto, "on n'a pas que," he expressed the nihilistic emotions toward society by the theme of interiority such as solitude, silence, narcissism, introspection, and introversion. In the middle of his Symbolism, we find the "cultural nostalgia" or longing that the artist develops in the I Lock My Door upon Myself. Khnopff's longing toward the lost city of "Bruges" form the crux of his "Social Symbolism."