• 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.

• (The)Study of the Eastern Classic
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• no.68
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• pp.539-570
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• 2017

This article is for considering and looking through the meaning of Classic of Poetry(Shi jing) Hiku-ka of Kobayashi Issa before reviewing and adapting Classic of Poetry(Shi jing) in Eastern Asia. Issa wrote his works by using Hyanghwa-Gucheop in 1803, and he had adopted it as his creative works of Hikai absorbing Classic of Poetry(Shi jing) for about half a year. There has been no national study about this so far, and this study covered the aspects of Issa's adapting way of Classic of Poetry(Shi jing) in Japan and China. There have been several problems that the contents were limited to Guo-feng and there were no agreement of terminology as well among researchers. To overcome these limitations, therefore, this article aimed at all the works, rejected the view point as just a translation, and denominated this study as Haiku-ka. Above all, this study looked though Issa's Classic of Poetry(Shi jing) by splitting the aspects of Haiku-ka into borrowing topics and materials. In borrowing topics, the works with the topics of homesick and nostalgic parents stood out. Furthermore, annotations and understandings of Issa's original works were deeply involved. In borrowing materials, the original meanings in the works were transformed and changed or even reinterpreted by their own way. Eliminating sublime emotions, furious tone, and condemnation was main characteristic of Haiku-ka in Classic of Poetry(Shi jing). Besides, there were ways of exclusion of reasoning, deviating from the viewpoint of Sigyo(edification by poetry), not including moral senses. In other words, Issa used habits and impressions like the way of Haiku when he was doing Haiku-ka in Classic of Poetry(Shi jing). The meaning that Issa's Hiku-ka of Classic of Poetry(Shi jing) stood out compared to adaptation of Classic of Poetry(Shi jing) in Eastern Asia. Although Classic of Poetry(Shi jing) in Vietnam was transferred in the form of the poem in Vernacular, the meaning and contents were not changed. Moreover, the original works and characters in Joseon were not destroyed because Classic of Poetry(Shi jing) was not liberally translated but literally. However, Issa transferred the Classic of Poetry(Shi jing) in the form of the poem in Vernacular to reveal the value of popular ballads. This was a different adapting way of Classic of Poetry(Shi jing) from that in Eastern Asia.

• (The)Study of the Eastern Classic
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• no.73
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• pp.9-33
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• 2018

This paper examines the literary theory of Gollyun(昆侖) Choe, Changdae(崔昌大, 1669-1720). He has authored a variety of works, and his works have been recognized in many literatures. Because of this, studying his literature is a meaningful. The theory of poem creation is as follows. It is the basic poem creationism that expresses the feelings that I experienced and felt as it is. The utility is to multiply and control the artist's feelings through his poem. However, the creative theory of being the best writer is different from this. It must be premised on finding from the heart and studying various books. If these qualities was provided, the words are clear and the meaning is condensed. He distinguished between general works and the best works, and presented their own creative theory and discussed their utility. The theory of prose utility is as follows. He emphasizes the importance of communicating with contemporaries and establishing important things of the day and making them easier to understand, without specifying the morality. This is a thoroughly realistic utility theory. In the classical chinese prose's history, 'Sadal(辭達)' and 'Susa(修辭)' were issues. He transcends the recognition of 'Sadal(辭達)' and 'Susa(修辭)' as zero-sum. In addition, he gives priority to the meaning of the writer and emphasizes self-realization, which is in common with other political soron(少論) writers' theories. When creating prose, simplicity and bizarreness were issues. He emphasizes concise writing. However, it can be realized when a writer with high opinion is aware of the reason and raises the core. Through various sources, he has completely rejected Ming(明) dynasty's former and latter seven master(前後七子). However, he did not exclude their work unilaterally, and recognized the work of Chin-Han dynasty(秦漢) and Dang-Song dynasty(唐宋). This is the same as his father Choiseokjung(崔錫鼎). He recognized Chin-Han dynasty(秦漢) and Dang-Song dynasty(唐宋) equally, and sought a simplified and summarized style.

• The Korean Journal of Pesticide Science
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• v.14 no.2
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• pp.116-122
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• 2010

This study was carried out to estimate the risk of pesticide operators who use high toxicological pesticides. The class II (highly hazardous) pesticides registered in korea were 15 products, and 11 products were spray type pesticides at orchard file in 2009. The using information based on the pesticide label and the data searched through survey of actual condition on pesticides were used for calculate the pesticide operator exposure dose. The risk quotients of these pesticides against the pesticides operator were calculated as devide pesticide exposure dose by reference dose which were presented by EFSA (European Food Safety Authority), JMPR (Joint FAO Meeting on Pesticide Residues), and US/EPA (United States Environmental Protection Agency). Omethoate showed the highest risk quotient and the values were 338 and 75 when the operator spray using speed sprayer and motor sprayer respectively. Risk quotients of all class II pesticide were above 1. This result means that the risk potential of these pesticides are very high.

• Membrane Journal
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• v.28 no.1
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• pp.55-61
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• 2018

With vigorous development of petroleum and chemical industry, emission of carbon dioxide has attracted tremendous attention globally due to global warming problem and abnormal climate change. To address these problems, in this study, a PEGBEM-g-POEM graft copolymer with high $CO_2$ affinity was synthesized and $CaCO_3$ was incorporated to form mixed matrix membranes (MMMs) for enhancement of $CO_2$ permeance. By varying the addition weight of $CaCO_3$ in MMMs, high separation performance of $CO_2$ over $N_2$ was obtained. At 50 wt% loading of $CaCO_3$, the greatest separation performance was obtained with an enhanced $CO_2$ permeance from 22.5 to 28.16 GPU and slightly increased $CO_2/N_2$ selectivity from 44.7 to 45.42. It resulted from the increased $CO_2$ solubility of MMMs due to specific interaction between $CaCO_3$ and $CO_2$ molecules. Upon excess loading of $CaCO_3$, MMMs exhibited loss of $CO_2$ separation performance due to the formation of interfacial defects. Based on this result, it is considered that the proper addition of $CaCO_3$ is crucial for improvement of $CO_2$ separation performance.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.33 no.1
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• pp.119-128
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• 2015

The purpose of this study was to look at the Jungeun-sasang(中隱思想) and garden of Bai Juyi in the perspective of landscape architecture and inquiry the meaning of Bai Juyi's construction activities, thought shown in his gardens, and how his construction method influenced later and the result is as follows. First, the 'Jungeun-sasang(中隱思想)' of Bai Juyi improved the Eunil-sasang(隱逸思想) and the birth of 'Jungeun-sasang(中隱思想)' became a clue to be developed up to the garden art. In addition, different from before that built gardens hiding in mountains, it prepared the turning point to build gardens in cities. Second, the space principle of 'paradise' shown in the garden of Bai Juyi was a means and principle to absorb the nature such as positioning rocks, formation of mounds, and positioning of flowers in the limited and small spaces different from previous gardens of splendid and magnificent. The garden became not only outer scene but also the 'Simwon(心園) that reflected the inside world. 12) Third, the gardening act and thought appeared in the poem of Bai Juyi were expressed in pictures and his own gardens as his poem was borrowed and quoted. As a result, Bai Juyi's literary view on the art and thought prepared the base in the popularity of literary gardens and forming of characteristic styles through practical activities that he managed his own gardens. Forth, Bai Juyi's level of Confucianism realization and delicate aesthetical consciousness gave meanings to the scene of gardens through the discovery of the fusion of mountains and creeks, ways of adding, and the aesthetical consciousness of Taihushi(太湖石)and influenced in the forming of garden culture later on.

• The Journal of the Convergence on Culture Technology
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• v.3 no.3
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• pp.7-19
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• 2017

Korean standard poetry with a fixed form are Rated Sijo. These Rated Sijos can be found in the 24 number of Gosijos. Then, why should Korean standard poetry be Rated Sijo? This is because only the Rated Sijo has a fixed form frame. Rated Sijo naturally tailored by a rigid framework is the best representation of Koreans' unique breath and temperament. Also, Rated Sijo is superior to general sijo or poem in terms of literary therapeutic utility for human body. If Haiku omits the end of narrative with the rated number of sounds and invites different imaginations to each reader, the Rated Sijo presents a certain frame to the direction of the human's rated signal by constructing the essence of the narrative with the rated number of sounds. Thus, the Rated Sijo suggests the way of human harmony and communication by inducing different imagination of readers cooperating in a certain direction. So, the famous poem of Korea, Rated Sijo, presents our future as a framework of literature that can contribute to the improvement of human communication and quality of life. Therefore, research to preserve and develop the value of the Rated Sijo should now be initiated and continued.

• Journal of Korean Medical classics
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• v.23 no.3
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• pp.1-11
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• 2010

King of Jujeong(周定王) named Jusuk(朱橚) was thought to be an exemplary character as a scholar and a politician, who was not an Oriental medical doctor but a compiler publishing a set of three medical books and a set of volumes on famine relief to save people in the areas of natural disasters or spring poverty. He was born on July 1, 1361 as the fifth son of Juwonjang(朱元璋), the first Emperor (1368-1398) of the Myeong-dynasty (1368-1644) of China. It was not clearly known about his mother other than assuming, but hard to ascertain, that she was from Goryeo, the ancient country in the Korean Peninsula, and became a loyal concubine of Juwonjang(朱元璋). He was the brother of Yeongrakje(永樂帝), the third Emperor(1402-1424) of the Myeong-dynasty. As a focal figure in the political forces at that time in the Myeong-dynasty, he had a life full of vicissitudes such as being removed from office, being exiled to a remote place, being scattered far and wide between family members, being implicated in the rebellion and so on. It seemed that he brushed up on his study, taking a class on an emir until the year of 1380 at the age of twenty. And he published "Bosaeng-yeorok(保生餘錄)" and "Bojebang(普濟方)" for eight years from 1381 to 1389 (at age 21-29), "Sujinbang(袖珍方)" in 1391 (at 31), and "Guhwangboncho(救荒本草)" in 1406 (at 46), republishing "Sujinbang(袖珍方)" in 1415 (at 65). Endowed with a brilliant talent from early days, Yeong-rakje(永樂帝) wrote the poem(the poem paying a high tribute to a King) well and composed one hundred pieces of poetry on the story of the Won Dynasty (1271-1368) of China. He leaded a quiet life in his later years and died a natural death at Gaebong(開封, a city in China) at 65 in 1425. He had 15 sons including king of Juheon(朱憲王) Yudon(有敦) and 11 daughters. His books contributed absolutely to the growth of Oriental medical field, and also to the increase in population, having influence on bringing about compilation of the books on Oriental medicine and famine relief of the Joseon Dynasty (the old Korean kingdom from AD 1392 to 1910).

• Lingua Humanitatis
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• v.1 no.1
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• pp.141-157
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• 2001

In his discussion of some desirable tuning points in comparative literary studies, Henry H. H. Remark has emphasized the importance of literary approach to other forms of art. Understanding the significance of such a method of comparative literature, the present study focusses on three contemporary Korean poets who have transferred Mark Chagall′s paintings into their poetry: Youngtae Kim, Chunsoo Kim, and Sunghun Lee. They are usually evaluated as surrealist/modernist in our literary circles. In transforming Chagall′s paintings into his poems, Youngtae Kim has incorporated a variety of surrealist mosaic techniques such as montage and collage. The resultant peculiarity of his poetry makes it hard to lay bare the correspondence or similarities between his poetic world and the world of Chagall′s artistry. It is nonetheless possible to see how Kim, as a poet and painter, had interpreted Chagall′s world with a bird′s-eye view of it. Chunsoo Kim′s "Snow Falling on the Village of Chagall" relates specially to one of Chagall′s paintings, "I and My Village." The present study has taken notice of this correlation in sorting out some basic elements of poetic transfiguration. One of the techniques employed in the poem under discussion is that of juxtaposing the Russian village of Chagall and the Korean village the poet visualizes, with the effect of putting two national traditions in contrast. A reading of the poem reveals that it is not so much the result of a detailed analysis of the painting as a revival of its lingering impression as a whole. In Sunghun Lee′s poetry, surrealist techniques are again a hallmark. But his method of transferring the images of the paintings into his poems falls somewhere between those of Youngtae Kim′s and Chunsoo Kim′s: it is akin to the ′bird′s-eye method′ of the former and shares the impressionistic touch with the latter, but at the same time Lee is analytical by disposition and opts for concrete descriptions. ′Love,′ ′farm,′ and ′time′ are the keywords that are brought under discussion in the present study. There is a growing demand in the current international comparative literary studies for broadening the area of comparative literature. This study hopes to be a small contribution to endorsing the importance of comparative approach to fine arts.

• (The)Study of the Eastern Classic
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• no.73
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• pp.35-63
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• 2018

The intellectuals of the Joseon Dynasty were Yangban Sadaebu who had knowledge based on Confucianism(Neo-Confucianism), enjoyed cultural powers by expressing their knowledge in words or writing, and entered government posts to guide society with such knowledge or included some pre-officials. Sisa(Poem Society) was a major place of knowledge transmission to acquire and impart knowledge of creating Chinese poems that traditional intellectuals of the Joseon Dynasty possessed. Seocheonmaehwasa(西泉梅花社) was a group of writers from the late Joseon Dynasty gathered together based on the commonality of kinship and political iniquity although they were different factions like Nam'in and Soron, and they enjoyed apricot blossoms and wrote poems there. Seocheonmaehwasa(西泉梅花社) was basically the meeting making poems. They improved their creative abilities with creating poems. Seocheonmaehwasa(西泉梅花社) was a major place of knowledge transmission to acquire and impart knowledge of creating Chinese poems that traditional intellectuals of the Joseon Dynasty possessed.