• 영어영문학
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• 제56권4호
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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.

• 대한한의학회지
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• 제37권4호
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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.

• 전기화학회지
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• 제17권1호
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• pp.65-70
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• 2014

본 실험에서는 다양한 조성의 AMPS, POEM 및 GMA를 함유하는 공중합체를 합성하고, AMPS의 술폰산기와 $Li_2CO_3$와의 산염기 반응 및 에폭시기의 가교반응을 유도하여 가교결합된 poly(POEM-co-AMPSLi-co-GMA) 전해질을 제조하였다. POEM의 결정융점은 AMPS 및 POEM의 몰분율에 따라 변화되는 특징을 관찰할 수 있었으며, 리튬이온이 도입된 이후 대체적으로 감소되는 경향이 나타났다. 가교된 고분자의 이온전도도는 GMA의 함량이 증가할수록 다소 감소되는 결과가 나타났지만, 16 mol%까지는 $1.0{\times}10^{-6}S\;cm^{-1}$ 이상의 값을 보여주었다. 특히, 자기-도핑형 전해질임에도 불구하고 2 mol%에서 최대 $4.08{\times}10^{-6}S\;cm^{-1}$의 높은 상온이온전도도가 얻어졌으며, 상온에서 6 V까지 우수한 전기화학적 안정성을 보여주었다. 또한 가교된 고분자전해질은 필름성형이 가능하며, 0.11 MPa의 탄성계수 및 270%의 변형율을 보여주었다.

• 비교문화연구
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• 제29권
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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.

• 문화기술의 융합
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• 제4권3호
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• pp.133-138
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• 2018

이 연구는 고시조의 정서가 현대시에 어떻게 흘러들어왔는지에 대해 살펴보는 것이다. 그리하여 고시조와 현대시의 간극에 머물고 있는 치유적 장치들을 문학치료에 활용하기 위한 목적을 지니고 있다. 고시조의 극심한 고독과 고요가 현대시로 침습되어 잠이 오지 않는 고독의 밤을 연출하고 있다. 고시조의 감정을 지닌 문장들이 현대시에서는 달라져 있지만, 고시조와 현대시는 같은 감정을 공유하고 있다. 이러한 문학적 장치는 현대인들에게 치유의 정서를 제공해준다. 이러한 연구는 이후의 문학치료의 활성화에 기여하게 될 것으로 사료된다.

• 영어어문교육
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• 제4호
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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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• 제5권4호
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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.

• 멤브레인
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• 제29권6호
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• pp.323-328
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• 2019

인류의 에너지 수급은 항상 인간의 삶에 중요한 문제이며, 최근에는 전기 생산 및 공급 문제로 이어지고 있다. 이에 관련하여 본 연구에서는 에너지 저장장치의 일환으로 슈퍼커패시터 용도의 고체 전해질막을 제조하였다. 제조한 전해질막은 poly(vinyl alcohol) (PVA) 주사슬에 poly(oxyethylene methacrylate) (POEM) 곁사슬을 그래프팅하여 사용하였으며, 그래프팅은 자유 라디칼 중합법을 통해 합성하였다. 본 연구에서 사용한 PVA-g-POEM 가지형 공중합체를 슈퍼커패시터 전해질에 적용한 사례는 처음이다. POEM 그래프팅을 통해 PVA가 고유하게 가지고 있던 구조가 변화하였으며, 이를 FT-IR을 통해 분석하였다. 또한, 합성한 공중합체를 이용한 슈퍼커패시터 성능은 cyclic voltammetry (CV), galvanostatic charge/discharge(GCD), ragone plot 등을 통해 분석하였다. 이를 통해 기존에 수계 전해질로 PVA 단일 고분자만 사용하던 분야에 그래프팅 방법이라는 새로운 접근법을 제시하였다.

• 조형예술학연구
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• 제6권
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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'.

• 멤브레인
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• 제20권1호
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• pp.55-61
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• 2010

원자전달 라디칼 중합을 이용하여 polystyrene-b-poly(oxyethylene methacrylate) (PS-b-POEM) 블록 공중합체를 합성하고, FT-IR을 통해 중합이 성공적으로 이루어졌음을 확인하였다. 또한 자기 조립된 블록 공중합체 막을 제조한 후, 전구체 $AgCF_3SO_3$ 도입과 UV 조사를 통해 고체상에서 은 나노입자를 성장시켰다. TEM 전자현미경과 UV-visible 분광학 분석을 통해 블록 공중합체 막의 내부에 은 나노입자가 형성된 것을 확인하였고, 또한 친수성 POEM 영역의 함량을 조절함으로써 나노입자의 크기를 조절할 수 있었다. 금속 나노입자를 제조하는 데 있어서 POEM 함량이 적은 블록 공중합체가 더 효과적임을 확인하였다.