• The Journal of the Korea Contents Association
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• v.6 no.7
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• pp.127-135
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• 2006

This study analyzed narrative composition and examined storytelling elements to develop Shin, Dong Yeop's Epic Poem Geumgang into cultural contents. This piece's narration involves separately or compositely historical, fictional, and lyrical compositions and the hierarchical meaning of each composition contributes to exposing the poet's historical view and perception of reality. This piece also contains several storytelling elements by presenting various hierarchies of events and characters. This pieces' heroic characters, war epics and fictional spaces, and mythical stories are very important storytelling elements, and will be effectively used to develop cultural contents for Geumgang.

• Korean Chemical Engineering Research
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• v.57 no.3
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• pp.392-399
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• 2019

A highly transparent interfacial layer (HTIL) to enhance the performance of dye-sensitized solar cells (DSSCs) was prepared via a polymer-assisted (PA) approach. Poly(vinyl chloride)-graft-poly(oxyethylene methacrylate) (PVC-g-POEM) was synthesized via atom-transfer radical polymerization (ATRP) and was used as a sacrificial template. The PVC-g-POEM graft copolymer induced partial coordination of a hydrophilic titanium isopropoxide (TTIP) sol-gel solution with the POEM domain, resulting in microphase separation, and in turn, the generation of mesopores upon calcination. These phenomena were confirmed using Fourier-transform infrared (FT-IR) spectroscopy, UV-visible light transmittance spectroscopy, scanning electron microscopy (SEM), and X-ray diffraction (XRD) analysis. The DSSCs incorporating HTIL60/20 (consisting of a top layer with a pore size of 60 nm and a bottom layer with a pore size of 20 nm) exhibited the best overall conversion efficiency (6.36%) among the tested samples, which was 25.9% higher than that of a conventional blocking layer (BL). DSSC was further characterized using the Nyquist plot and incident-photon to electron conversion efficiency (IPCE) spectra.

• CELLMED
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• v.12 no.4
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• pp.17.1-17.1
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• 2022

PoongLyuYak exists everywhere. If you read the poem and get inspired, it becomes poem Yak (詩藥, poem medicine). If you look at the picture and fall it, it becomes picture Yak. When you feel refreshed by travelling, it becomes travel Yak. Music, dance, movie, nature, etc. are very nice examples. Even a leisurely life of driving, eating out, and drinking coffee is good PoongLyuYak for the body. Whether you're alone or in a group, if you can enjoy it, it's good medicine. According to the logic of the windy and flowing world, anything that can transform one's emotions, whether happy, sad, or trivial, can be a PoongLyuYak. This PoongLyuYak may be more effective than oral medications, inhalants, ointments, or injections. Rather than simply watching, listening, or imitating others, the effect is enormous when participating directly and performing and creative activities. The pleasure of seeing Heung-min Son playing soccer is also a PoongLyuYak, but it can be more enjoyable and the medicinal effect is much greater if you enjoy soccer yourself. Here are some examples of PoongLyu medicines the authors took with the joy of creation.

• Journal of English Language & Literature
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• v.58 no.6
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• pp.1167-1191
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• 2012

For Romantic women writers the paratext itself is essentially a masculine literary space affiliated with established writing practices; however, this paper suggests that Charlotte Turner Smith's mode of discourse in her use of notes and their relation to the text proper are never fixed in her contemplative blank-verse long poem, Beachy Head (1807). Even though the display of learning in the paratext partly supports the woman writer's claim to authority, this paper argues that Smith's endnotes also indicate her way of challenging the double bind for women writers, summoning masculine authority on the margins of her book while simultaneously interrogating essentialist thinking and instructions about one's identity in a culture and on the printed page. The poem shows how the fringes of the book can be effectively transformed from a masculine site of authority to an increasingly feminized site of interchange as Smith writes with an awareness of patriarchal, imperial abuses of power in that area of the book. There is a persistent transgression of cultural/textual boundaries occurring in Beachy Head, which explores the very scene and languages of imperial encounter. Accordingly, if Wordsworth's theory of composition suggests a subjective and abstract poetic experience-an experience without mediation-in which its medium's purpose seems to be to disappear from the reader's consciousness, an examination of the alternative discourse of self-exposure in Smith's poem reveals the essentially fluid nature of media-consciousness in the Romantic era, which remains little acknowledged in received accounts of Romantic literary culture.

• Cross-Cultural Studies
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• v.25
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• pp.391-420
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• 2011

Christina Rossetti's novella Maude displays Tractarian influences in terms of Holy Eucharist, Puseyism, and the doctrine of Reserve. Tractarianism is High Church revival movement of nineteenth century. In the story a teenage girl, Maude went through hard time receiving Holy Eucharist due to self-consciousness and internal guilt according to Puseyism. She felt guilty when she enjoyed worldly things and outward beauty. Due to guilt Maude refused to receive Holy Communion, which is complete connection to God. Her cousin, Agnes suggested that in refusing Holy Communion Maude is following her own will not God's will. Later Maude overcame Puseyite thought of self-hatred and reconciled with her identity as a poet and a woman. Maude oscillates between concealing and revealing, secrecy and truth, sincerity and affectation, and modesty and display. Her marvelous poetic talent makes people praise her but she withholds private feelings and attempts to divert attention from herself. Like Maude herself, the meaning of her poems is at times reserved and withheld. This tendency goes with the doctrine of Reserve in Tractarianism. The doctrine of Reserve utilizes indirect methods to reveal divine attributes because finite human being can not accept infinite God. The doctrine of Reserve sees to it that the expression will be veiled, indirect, subdued and self-effacing. Rossetti adapts a poetic method of Reserve when Maude has anxiety over 'display and poetry' and generates the reticence, secrecy, mystery, renunciation, modesty and detachment. According to Mary Arseneau, by veiling and expressing herself through symbols she can rise above the self and employ the phenomenal to suggest a noumenal reality. Thus the poetry becomes an expression of longing for the divine. The poem "Three Nuns" exemplifies Maude's maturity and gradual progress in the relationship with God. Rossetti suggests the vision full of hopes and promises of reuniting with God. In conclusion, in some sense, authoritative and conservative Tractarianism affects Rossetti both ways. On the one hand, it makes Rossetti abnegate herself and leads her to asceticism, on the other hand, it makes Rossetti express her faith in God and write amazing devotional poems such as "Three Nuns". A poem within the poem has three voices that are in perfect harmony. In the poem the first and second nun show hesitation to fully commit to God's will and the desire for the world prevents them from having heavenly joy. Third nun reveals spiritual maturity and sings new life in God where their hopes and joys begin. Rossetti expresses the procedure of spiritual growth through the poem "Three Nuns". For Rossetti, self-abnegation and self-expression both are involved in the doctrine of Reserve, Puseyism and Holy Communion.

• Cross-Cultural Studies
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• v.43
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• pp.327-354
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• 2016

Rimbaud's prose poem, Barbare in Illuminations, is known for its abstruseness with regard to forms, themes, metaphors. This paper first analyzes the poem's grammatical structure to make sense of such an inscrutable piece of work, then discusses its autotextuality in order to decipher its meaning by comparison with Rimbaud's other works. Autotextuality, a method of literary interpretation of Rimbaud's prose poem presented by Steve Murphy, refers to the intertextuality between the author's works. Despite some previous researches focusing on the intertextuality of Barbare, previous authors have failed not only to find its meaning but also to determine its significance. The abstruseness of Rimbaud's Barbare is sometimes considered an example of the meaningless of Rimbaud's work. However, examining the textual structure and the autotextuality builds meaning, rather than rendering the work meaningless. Barbare which consists entirely of noun phrases and metaphors means destruction, fusion and the pure power of regeneration in the original context of Rimbaud's work. This poem is Rimbaud's answer to Baudelaire's poetic question, Any of where out of World, and presents a strange scenery that uses 'the eternal female voice' to reach the Vulcan in the North Pole. Interpretation of Barbare could provide a methodology for reading the difficult Illuminations. The kind of analyses used are, for example, analysis of the text, analysis of verbal indicators, autotextuality, and an understanding of the joy and the solitude in the silence of the poem. Understanding Barbare may provide a method of interpreting the abstruseness of Illuminations. Through this approach, we can connect and combine every fragment of the Illuminations, so that we can reconstruct the story and the adventure contained therein.

• Sijohaknonchong
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• v.23
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• pp.133-159
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• 2005

This thesis is about Sijo(traditional Korean poem) made-up of 35 volumes and 45 poems written by Han Yong-un. The aim of this study is reappraise the Sijo which is not known to Korean people. There are four thesis about Sijo so far. Ko Myeong-su divided Sijo into separate subjects and researched it very deeply. After I read the Chinese Poems of Han Yong-un, I researched the relationships between subject matter and its theme. The relationships are between the moon and religion, spring and aspiration, autumn and grief or lose, and the sword and patriotism. I chose to discuss a Sijo 'Mugunghwa Shimeukwajeo'(무궁화(無窮花)를 심으과저) shich deals with the moon and religion. The main subject matter of this S is the moon. There are three poems in this volume. They are all about the moon. There is a Mugunghwa (無窮花) on the moon. This poem asserts that the moon is good for love, and it is the subject matter of the poet's religion. The moon in the Chinese poem 'Okjungkamwhiy'(獄中感懷) believes there is hope in prison. The moon in 'Wolbang(月方中) is Buddhist thinking. I researched 'Geochon'(早春) tee poems about spring and aspiration. The first poem is about the independent movement against the Japanese. Autumn is about the feeling of lose in the life. Sijo 'Chuyamong' (秋夜夢) is lose the lover. The second poem is about conquering all difficulties of the poet's current circumstance. The third poem is about the feeling of vacuum in his life. The fourth poem is about deploring losing his mind. 'Nam-a'(男兒) and 'Urinim'(우리님) are books about patriotism. These poems have the subject matter of a sword for song patriotism. 'Kiharksaeng'(寄學生), 'Anhaeju'(安海州), and 'Hwangmaecheon'(黃梅泉) are patriotic poems. In this study, I found that the subject matter and the theme in the Chinese poems of Han Yong-un(韓龍雲) are related. Mainly he used the metaphor of the moon for religion, spring for aspiration, autumn for grief or lose, and sword for patriotism.

• (The) Research of the performance art and culture
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• no.40
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• pp.269-305
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• 2020

Youngsan is generally known as Pansori Danga(短歌). However, the contents of 'Yeongsan' in 『Songnamjabji』 are different. In 『Songnamjabji』, Cho Jaesam explained the contents related to 'Youngsan' using three kinds of poems: Shin Kwangsoo's poem, Baegho Imje's poem, Kim Myeongwon's poem. First, 'Ujo Youngsan' appears in Shin Kwangsoo's poem. Shin Kwangsoo wrote the (1750) when Yoo Jinhan's 『Manhwajib(晩華集)』(1754) was published. It is difficult to see the 'Ujo Youngsan', which appears in Shin Kwangsoo's poem written in a time when Pansori was not widely known, as the Pansori Danga. Second, Jo Jaesam called the music in Baegho Imje's poem 'Youngsan Dodeueum'. In 'Youngsan Dodeueum', flute and 'Dodeuli rhythm' were used. This fact is connected with , an instrumental music. , also a Buddhist term, continued to be used in the palace as well as among the people. Third, Cho Jaesam introduced Kim Myeongwon's poem in 'Yeongsan' part and called it 'Taryeong.' At that time, the term 'Taryeong' referred to both Pansori and Jeongga(正歌). Later, in the 19th century, 'Youngsan' was recorded as a term for the Danga to loosen the neck before Pansori began in earnest. In other words, the early 'Yeongsan' recorded in 『Songnamjabji』 was a Buddhist term, referring to the music of the upper class Seonbi, such as , Gasa(歌詞) and Sijo(時調). In 1855, when 『Songnamjabji』 was written, 'Youngsan' was used as a term used to refer to both Changbu-Music and Gagaek(歌客)-Music, mixed with the term 'Taryeong'. And as Pansori became popular, the term 'Taryeong' came to be called 'Pansori' and 'Youngsan' was used to refer to Pansori Danga. Therefore, all the records of 'Youngsan' should not be interpreted as Pansori Danga. This situation is closely related to religious and social change. The policy of worshipping Confucianism and suppressing Buddhism rejected the term 'Youngsan' which had a Buddhist meaning. In the middle of Joseon Dynasty, when Buddhism was suppressed, 'Youngsan' and 'Taryeong' were mixed. As Buddhism regrown in the late Joseon Dynasty, with the advent of Pansori, the term 'Youngsan' seems to be newly resettled in the sense of Danga. Pansori appeared in the 19th century and 'Yeongsan' was used as a Danga. And the reason should be regarded as this social and religious change.

• Korean Architects
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• s.533
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• pp.92-97
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• 2013

• Proceedings of the Korea Society of Costume Conference
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• 2004.08a
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• pp.295-297
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• 2004