• 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.

• Cross-Cultural Studies
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• v.20
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• pp.347-370
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• 2010

In the latter part of the $20^{th}$ century, the road in American culture has been identified with independence, mobility, and speed, but in his seminal poem, "Song of the Open Road," Walt Whitman characterized road journeys as simultaneously physical, intellectual, and spiritual, a view embraced by Vincent Van Gogh whose Terrace of a Caf? at Night illustrates in paint what Whitman said in words. Others such as Jack Kerouac in On the Road followed in Whitman's tradition, one taken up even more recently by David Lynch, whose films are best known for a condemnation of American suburban life, but whose Straight Story evokes a profound spirituality as part of the road. This essay explores spirituality in these various texts.

• Cross-Cultural Studies
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• v.21
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• pp.289-306
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• 2010

In Jamaica Kincaid's novel Lucy, the narrator grows up with the burden of colonial legacies embedded with Englands' imperial disciplinary projects, its language, educational institutions, discourses. Colonial education interpellates the narrator into a colonial subject through its multiple ideological discourses and systems. Teaching the literature of England is the most insidious form of the Empire's disciplinary colonial projects, more powerful than military enforcement: Its mode of operation is creating phantasy and instigating and planting desire for such phantasy. As Homi Bhabha aptly theorizes as colonial mimicry and ambivalence, the narrator as colonial subject grows up split and confused as an ambivalent subject, simultaneously mimicking and desiring for the phantasized England as real, while resisting and criticizing such up-bringing and mimetic desire. This paper explores Kincaid's rhetorical strategy of employing Wordsworth's poem, "I Wandered as a Lonely Cloud," especially her use of the flower "daffodil." Employing the concept of "daffodil gap" suggested by postcolonial critics, this paper closely examines two episodes involving the flower daffodil in the novel, one in a colonial classroom and the other in a garden in a new world and suggests that Kincaid accomplishes intertextual critique of colonial education and imperial projects.

• Korean Journal of Heritage: History & Science
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• v.35
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• pp.304-319
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• 2002

The purpose of this paper is to investigate seasonal customs of "Hae-Dong-Jug-Ji". Cheo Yeong-hyeon was a literary man who passed away when Joseon Dynasty ruined after great change of dynasty. As the interest in the customs had also, there appeared a lot of books on common customs in each seasons. As a result, Chinese poems on the seasonal common customs turned up a great deal. Among these, "Hae-Dong-Jug-Ji" written by Cheo Yeong-hyeon is one of the representative poems which described the seasonal customs at that time. As the details of customs and lives in every work is described deliberately, the poem is very clear and realistic. This is the very achievement of the poet.

• 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.

• Proceedings of the KSPS conference
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• 2000.07a
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• pp.235-240
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• 2000

In the age of global communication, more human exchange is extended at the grass-roots level. In the old days, language policy and language planning was based on one nation-state with one language. But high waves of globalizaiton have allowed extended human flow of exchange beyond one's national border on a daily basis. Under such circumstances, homogeneity in Japan may not allow Japanese to speak and communicate only in Japanese and only with Japanese people. In Japan, an advisory report was made to the Ministry of Education in June 1996 about what education should be like in the 21st century. In this report, an introduction of English at public elementary schools was for the first time made. A basic policy of English instruction at the elementary school level was revealed. With this concept, English instruction is not required at the elementary school level but each school has their own choice of introducing English as their curriculum starting April 2002. As Baker, Colin (1996) indicates the age of three as being the threshold diving a child becoming bilingual naturally or by formal instruction. Threre is a movement towards making second language acquisition more naturalistic in an educational setting, developing communicative competence in a more or less formal way. From the lesson of the Canadian immersion success, Genesee (1987) stresses the importance of early language instruction. It is clear that from a psycho-linguistic perspective, most children acquire basic communication skills in their first language apparently effortlessly and without systematic and formal instruction during the first six or seven years of life. This innate capacity diminishes with age, thereby making language learning increasingly difficult. The author, being a returnee, experienced considerable difficulty acquiring L2, and especially achieving native-like competence. There will be many hurdles to conquer until Japanese students are able to reach at least a communicative level in English. It has been mentioned that English is not taught to clear the college entrance examination, but to communicate. However, Japanese college entrance examination still makes students focus more on the grammar-translation method. This is expected to shift to a more communication stressed approach. Japan does not have to aim at becoming an official bilingual country, but at least communicative English should be taught at every level in school Mito College is a small two-year co-ed college in Japan. Students at Mito College are basically notgood at English. It has only one department for business and economics, and English is required for all freshmen. It is necessary for me to make my classes enjoyable and attractive so that students can at least get motivated to learn English. My major target is communicative English so that students may be prepared to use English in various business settings. As an experiment to introduce more communicative English, the author has made the following syllabus design. This program aims at training students speak and enjoy English. 90-minute class (only 190-minute session per week is most common in Japanese colleges) is divided into two: The first half is to train students orally using Graded Direct Method. The latter half uses different materials each time so that students can learn and enjoy English culture and language simultaneously. There are no quizes or examinations in my one-academic year program. However, all students are required to make an original English poem by the end of the spring semester. 2-6 students work together in a group on one poem. Students coming to Mito College, Japan have one of the lowest English levels in all of Japan. However, an attached example of one poem made by a group shows that students can improve their creativity as long as they are kept encouraged. At the end of the fall semester, all students are then required individually to make a 3-minute original English speech. An example of that speech contest will be presented at the Convention in Seoul.

• Sijohaknonchong
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• v.43
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• pp.5-39
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• 2015

Shijo (Korean poetic form) is a representative literature genre of a short poem among the literary works of Korea in the late Chosen Dynasty. The format of Sijo is Normal-Shijo in the form of 3 verses, 6 sections and 12 sound, and the lyrics of one Normal-Shijo has within or without 45 words. But Saseol-sijo, a type of Sijo, there is a work that has more than 100 letters due to the number of lyrics were a lot increased. Among those Saseol-sijo there is a work with 'solemn and elegant feeling' borrowing some verses even from Chinese poem, using a lot of Chinese vocabulary, but there are a lot of works with 'salacious and explicit contents'. Literary work, Shijo, is used for lyrics of vocal music as Gagok (a genre of Korean vocal music for mixed female and male voices) and Sijochang, however, there are many cases that the same Sijo poem is used as lyrics of Gagok and Shijo. But those music that use Saseol-sijo as lyrics among Gagok, the vocal music, are mainly songs with 'solemn feeling' rather than 'salacious work'. This study looked into the reason why the Saseol-sijo with 'salacious and explicit contents' are hard to be used as lyrics in Gagok, confirming the fact that most music singing Saseol-sijo among Gagok that are being handed down till now use lyrics with 'solemn and elegant feeling'. The most important thing among those reasons seems to be irregularly increasing lyrics, and in accordance with accompaniment. Gagok accompanys a number of instruments the fixed melody recorded and delivered in score. So it's almost impossible to play unless it depends on the steadily made song melody and accompaniment melody according to the chosen lyrics in advanced. Also, appreciation of literary works is usually made privately through a private reading activity, but Gagok is conducted through public performance in an open space for many people. Especially, it would have been hard to sing a salacious and explicit song gathered together with men and women of different social status in social system and custom of the late of Chosen Dynasty. This study confirmed the fact that folksy and popular character that was praised for literary characteristic of Saseol-sijo can't be easily found from Saseol-sijo that was called Gagok.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.36 no.3
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• pp.48-57
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• 2018

In this study, we conducted an analysis on the actual field materials and the ancient text of January 2017. First, Yuyin ShanFang is one of the famous garden in the Lingnan Region, and its total area is $1598m^2$. Wobin called the name 'Yuyin(餘蔭)' meaning the virtues of his ancestors. Second, if we analyze the poem written by Wobin, we can classify it as a phrase expressing the world beyond the future, a poem expressing the ideas of family and romantic ideas. Third, the space spread to the south around the shrine building in the middle of the site was largely a residential space, according to the analysis of the site's layout and spatial composition. Fourth, the spatial component of the hydronic acid is analyzed. The pavilion area is the Hanchwi-Pavilion, which is designated in the Wongrim, and Gyesang-Pavilion, which is a unique range that describes the peak of the garden. Fifth, Yuyin ShanFang has five ponds that are very diverse in shape. It is characteristic of us to stand on a technical boundary. Sixth, Seokgasan was referred to as Gyeongbansan, which was named after The builder Wobin and his descendants who passed it. Seventh, Hwachang is characterized by a wooden bull window and a compound glass. Eighth, the alumni style is not as diverse as the alumni style of the Suzhou traditional garden, but it features various forms and colorful pictures on the front of the alumni. Ninth, the one-piece sculptures of the interior of a building are expressed themes such as Gilsang, Sukjeong, Daoism, Palseom, and others. Finally, Trees planted in Yuyin ShanFang are mostly tropical plants, and some of them have symbolic meaning. Because the weather here is good for growing fruit, so planted a lot of fruit trees.

• Journal of Korean Classical Literature and Education
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• no.33
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• pp.121-152
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• 2016

The purpose of this study is to illustrate the history of the Cheonsu-Temple天壽寺 and to describe the echo verse poem trend with regard to 'Waiting'待人 and why it is beautiful. The Cheonsu-Temple was located in the outskirts of Gaesung開城, the capital city during the Corea高麗 Dynasty. However, the temple was destroyed when the dynasty collapsed. Cheonsu-Station天壽院 was built amidst the temple ruins, as the temple was an important traffic point. The Cheonsu-Pavilion天水亭 was built in 1476 by Yi-Ye李芮 in the station's neighborhood. The station and the pavilion were completely ruined during the 17th century. Many poets visited the Cheonsu-Temple and composed poems in the latter part of the Corea Dynasty. 'Waiting'待人, written by Choi-Sarip崔斯立, -is the most famous work. Following this work, many poets composed echo verse poems 'Waiting' work that represented the anxiety of waiting for an old friend in front of the Cheonsu-Temple. The following is a highlighted verse: So many people who look like the old friend come to me, but it turned out no one was the man. This work is very picturesque. Over twenty echo verse poems 'Waiting' are categorized in three periods. They compared the "present" to the past by using the Zhenglingwei丁令威 origin from the former Joseon朝鮮 period. In the middle of Joseon period, Jungjong中宗 visited Cheonsu-Station and composed an echo verse poem 'Waiting'. The official literaries also composed poems there. In their works, they presented the collapse of the Corea Dynasty as inevitable and the construction of Joseon Dynasty as something reasonable. Cheonsu-Station was ruined in 17th century, followed after by the ruin of the Cheonsu-Pavilion. It appears that the echo verse poems to 'Waiting' in the latter Joseon period represented the ruin of the Cheonsu-Temple, the Cheonsu-Station, and the Cheonsu-Pavilion.

• Cross-Cultural Studies
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• v.44
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• pp.211-237
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• 2016

This paper seeks to explore the new relationship between music and poetry established in the beginning of the Modern Era. This was a period when reading silently was the dominant culture rather than reading aloud and orality was limited due to the emergence of literacy and print culture. A poet sensitive to the characteristics of the period, $Mallarm{\acute{e}}$ created his own concept of music and new creative principles of poetry from it. We analyze his "Divigation" and letters, in particular, the "Crisis of vers", "Music and Literature", "Mystery in the letters", and "About the book." Firstly, $Mallarm{\acute{e}}$ connects music with the mystery and the sacred: the mystery surrounds the music and the music is oriented with the sacred. The sanctity is that of the human race and has existed within humans since the beginning. Transposing the characteristics of this music to the poetry is his first creative principle of poetry. However, $Mallarm{\acute{e}}$ called music a totality of relationships that exist between objects without reducing the dimension to only the instruments or the sound. His definition is abstract, regarding music as a complete rhythm, the atmosphere and the air. Secondly, we have the question of how to realize music in a poem. As the music is surrounded by the mystery, $Mallarm{\acute{e}}$ can transpose the sacred to a poem in mysterious ways. This leads to his second principle of poetry: make a poem as a structure. In other words, 'musically', based on the disappearance of real objects and the initiative of the poet, he created a structure with only the words. We can create an acoustic structure but $Mallarm{\acute{e}}$ created a visible structure to overcome the incompleteness of the sound of a word in the diffusion of print culture. In this manner, the use of silence as much as sound and the use of visual as much as aural components were introduced in poetry as important motifs and the essentials of creation. This new relationship between poetry and music and the creative principles drawn from it appear to be the areas to which attention should be focused in the research of poetry.