• Journal of English Language & Literature
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• v.56 no.4
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• pp.667-690
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• 2010

This essay attempts to read Percy Bysshe Shelley s The Mask of Anarchy by attending to a political agenda that Shelley seeks to propose and embody in the poem. This poem was written as a response to an exceptional political event, the Peterloo Massacre, and thus it is evident that Shelley intended to engage in contemporary politics by writing this poem. As many critics have pointed out, however, the way in which this poem addresses social, plitical issues is ambivalent and even confusing, since it contains many elements that contradict each other, and sometimes its political visions are based on incoherent conceptions. For this reason, this poem has been considered to be a failure as an occasional poem which should provide the reader with a clear direction for political actions. Faced with this critical problem, this essay proposes that the ambivalence this poem reveals-e.g., the confrontation between moderate artistic fantasy and radical tenets-is not a retreat from political activism, as some critics suggested, but a result of its creation and embodiment of a public sphere which invites various social classes and their positions. The mode in which Shelley conceives this unified public sphere in the course of writing The Mask of Anarchy can be interpreted in terms of the following three features. First, this poem underscores the significance of thoughts in constituting a communal space between people, thus asking the reader to participate in this process of thinking on given issues. Second, this poem suggests that people should enlighten each other by engaging in communicative reciprocations. Lastly, the public sphere formulated by the previous two features should incorporate various socio-political agents beyond class boundaries (even oppressors themselves) into its own working field. After explaining how these three features are manifested in the poem, this essay argues that the unified public sphere thus formed in the poem is the very agenda that Shelley aims to propose for the contemporaneous politics and culture. As a conclusion, this essay highlights how Shelley s project of creating a unified public sphere finally failed in contemporary history through observing two contrasting receptions of Shelley s works.

• The Journal of Korean Medicine
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• v.37 no.4
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• pp.22-29
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• 2016

Objectives: We developed a Korean translation of this questionnaire by sequential forward-and-backward translation. The purpose of this study is to validate the Korean version of the POEM, the "POEM-K" by Korean patients with atopic dermatitis (AD). Methods: A single-center prospective study was conducted with 50 participants diagnosed with AD. The POEM was translated to Korean version by an expert panel. Scoring Atopic Dermatitis (SCORAD) and Short Form 36 Health Survey (SF-36) were used as external comparators. Results: Twenty men and thirty women between the ages of 18 and 63 participated in the study. The test-retest reliability of the total POEM-K was estimated using the intra-class correlation coefficient (ICC) that showed a strong agreement (ICC = 0.72). By using Pearson correlation coefficients, we compared the POEM-K to SCORAD and yielded a concurrent validity that showed a significant result. The responsiveness of the POEM-K was represented by the effect size (ES) of 1.41 and statistically significant (p = 0.004). Conclusions: The Korean version of the POEM is a reliable, valid, and responsive disease-specific questionnaire for assessing the symptoms and quality of life of Korean patients with AD.

• Journal of the Korean Electrochemical Society
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• v.17 no.1
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• pp.65-70
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• 2014

In this study, crosslinked poly(POEM-co-AMPSLi-co-GMA)s were prepared by epoxy coupling of GMA after radical copolymerization of AMPS, POEM and GMA followed by acid-base titration reaction between sulfonic acid of AMPS and $Li_2CO_3$. It was observed that the crystalline melting temperature of POEM was effected by mol% of components and shifted to lower value by lithiation of AMPS group. The ionic conductivity of crosslinked polymer electrolyte was decreased by addition of GMA but maintained over $1.0{\times}10^{-6}S\;cm^{-1}$ until 16 mol%. Particularly, the self-doped polymer electrolyte with 2 mol% of GMA showed its ionic conductivity as high as $4.08{\times}10^{-6}S\;cm^{-1}$ at room temperature and electrochemical stability up to 6 V. In addition, 0.11 MPa of modulus and 270% of elongation were obtained from the free standing film of crosslinked polymer electrolyte.

• 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.

• 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.

• 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.

• International Journal of Advanced Culture Technology
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• v.5 no.4
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• pp.1-9
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• 2017

This study of Cho Ji - Hoon's Poem "Falling Flowers" was attempted to find the mechanism of poetic healing and utilize it for literary therapy. In this study, I examined how Cho Ji-Hoon's poem "Falling Flowers" encoded crying. Especially, we focused on the organic relationship of each layer represented by poem and put emotional codes on the layer of functor and argument. The results are as follow. It represents the Separation Layer of 1-3strophes, 4-6strophes constitute the Time Layer, and 7-9strophes the Sadness Layer. This poem proceeds the encoding of the sentence in which the crying of cuckoo in the 1-3strophes transforms into the crying of the poetic narrator in the last 9strophe. The relation of emotional layers in this poem is in the same function relations as "(1-3strophes) ${\subset}$ (4-6strophes) ${\subset}$ (7-9strophes)". Since these functional relations consist of the encoding of sadness, encrypts emotion signals of sadness as "U+U+U" becomes "UUU". 1-3strophes' U is the cry of the cuckoo, and U of the 4-6strophes is blood cry. Therefore, "UUU" is the blood cry of poetic narrator. This Cho Ji-Hoon's poem has a Han(恨) at its base. So, as Cho Ji-Hoon's poem "Falling Flowers" is uttered, the poetic mechanism of U, the code of sadness, is amplified. Then we get caught up in the emotions we want to cry. The poetic catharsis of "crying" is providing the effect of literary therapy. In the future, it will be possible to develop a more effective literary therapy technique by developing a literary therapy program like this poetic structure.

• Membrane Journal
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• v.29 no.6
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• pp.323-328
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• 2019

It is a highly important problem for mankind to supply sufficient energy, which has been connected to production and supply of electricity. In terms of the problems, this study fabricated a new sort of solid polymer electrolyte membrane for supercapacitors. The fabricated electrolyte employed grafting poly(oxyethylene methacrylate) (POEM) side chain on poly(vinyl alcohol) (PVA) main chain by free-radical polymerization. It is the first time to utilize PVA-g-POEM graft copolymer as an electrolyte membrane for supercapacitor. The chain behavior of PVA was transformed by grafting POEM side chains, which was analyzed by FT-IR spectra. Also, the capacitance performances of fabricated supercapacitors were explored by cyclic voltammetry (CV), galvanostatic charge/discharge (GCD), and ragone plot. We suggest a new point, the grafting of the electrolyte of supercapacitor in this study.

• Journal of Science of Art and Design
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• v.6
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• pp.100-118
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• 2004

Mi Fu, who was associated with Wen Tong, invented the Mijoem Technique (Dotting Technique) in landscape painting with his son Mi Youren. His landscapes, which referred to Dong Yuan's landscape technique and was inspired by the scenery of Jiang Nan, illustrate the mood of a cloud-covered foggy landscape by liberally applying dots with ink. 'Chunsansoesong' which is considered done by Mi Fu, clearly shows the virtues of ink painting's spreading, absorbing and omission techniques. This simply rendered landscape - whose mountains and hills are wrapped in both clouds and fog - displays exquisiteness by using small dots. In 'Chunsansoesong', the characteristics of Song painting: a 'vital energy', a 'poem within the painting', a 'beauty of margin', a 'beauty of one brush stroke, and a 'display of inner meanings' are implicatively expressed This is because it's simple but connotatively delineative. There is the characteristic of a 'poem within the painting' when analyzing the both fragmented and combined 'Chunsansoesong'. The margins support an imaginative space as the height of the mountains get higher which result in deepening both the width and depth of the landscape space. Furthermore, the soft thickness of ink, clouds, pine trees, and pavilion evoke delineative feelings and a desire to write a poem Every thing in 'Chunsansoesong' is enveloped in both clouds and fog regardless of its distance and this delivers boundless feelings of Oriental mystery and urges a desire for 'writing a poem'. The pavilion that faces the cloud and fog-bound mountains especially flames the poetic urge further by inducing viewers' poetic imaginations. As we reviewed above, 'Chunsansoesong's cloud and fog-covered landscape is a good example that clearly showcases the characteristics of a 'Poem within the Painting'.

• Membrane Journal
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• v.20 no.1
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• pp.55-61
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• 2010

A diblock copolymer of polystyrene-b-poly(oxyethylene methacrylate) (PS-b-POEM) was synthesized via atom transfer radical polymerization (ATRP), as revealed by FT-IR spectroscopy. The self-assembled block copolymer membrane was prepared and used to template the growth of silver nanoparticles in the solid state by the introduction of $AgCF_3SO_3$ precursor and UV irradiation process. Transmission electron microscopy (TEM) and UV-visible spectroscopy confirmed the in situ formation of silver nanoparticles within the block copolymer membranes, and the size of nanoparticles were controlled by adjusting the moiety of hydrophilic POEM domains. PS-b-POEM block copolymer with a lower POEM content was effective in generating smaller size of metal nanoparticles.