• Cross-Cultural Studies
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• v.52
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• pp.341-369
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• 2018

Li ShangYin (李商隱) was a poet who represented the late Tang period and authored more than 590 poems. In this paper, I have searched for various phonetic and semantic relationships through the attention of scholars' annotation about Li ShangYin (李商隱)'s poetry. As a result, we found 12 types of "examples that explain the phonetic and semantic relationships of poetic words" and five types of "examples that explain the features of poetic words and prosody." Especially, through analysis of "examples that explain the phonetic and semantic relationships of poetic words", it is divided into two types. The first type is that the scholars' annotation about Li ShangYin (李商隱)'s poetry and phonetic and semantic relationships of poetic words are matched, and the second type is that the scholars' annotation about Li ShangYin (李商隱)'s poetry and phonetic and semantic relationships of poetic words are inconsistent. In this study, I applied the theory of level and oblique tones for more detailed analysis of each type.

• The Journal of the Korea Contents Association
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• v.19 no.6
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• pp.72-79
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• 2019

This study tries to study the poetic beauty of the space deconstructed by the medium appearing in Moon Sam-seok's children's poetry to help with simultaneous education and guiding methodology. The research method is based on the assumption that semiotics spatial image is read. In other words, we intend to derive the poetic beauty of the space in which the great pole space built by is deconstructed by the intervention of by the medium term . Among Moon Sam-seok's series of works, the research text is "The Wind and the Fire," "The Wind and the Empty Bottle," "The Wind and Salt," "The Wind and the Rock." According to the study, the wind deconstructed a space that was differentiated by the presence or absence of matter into a "coexistence space." These poetic spaces symbolize poetic beauty as ideal places of life that coexist in a distinction but not discrimination. Second, the wind has eliminated the gap between alienation, suffering and solitude. In other words, the wind deconstructed poetic space produced poetic beauty with the 'space of communication' based on homogeneity of the nature of existence. In conclusion, Moon's poetic speech can be seen that he intended to express the discreteness of the poetic space as 'communication' and 'common life' by deconstructing it with deviation and convergence by introducing a medium.

• Cross-Cultural Studies
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• v.39
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• pp.219-240
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• 2015

The following summarized argument is the comparative research of the characteristics of automatic techniques demonstrated in the mixed expression of foreign language and Korean language in Lee Sang's poetry. Our research examines the use of foreign languages such as French and English shown in Lee Sang's poems, and then, recognized the characteristics of the automatic techniques demonstrated by the parallel marks and signs of Korean language. The automatical technique's element that Lee Sang made use of is a language of loanblend, consisting of free use of French, English, Japanese and Korean. The mathematical and geometric figures such as numbers and shapes can be seen as an important poetic language. In Lee Sang's poetry, the French words "AMOUREUSES" and "ESQUISSE" and English words "I WED A TOY BRIDE" are considered as parts of Korean language. The use of foreign language is seen by the readers as encodes of a unacquainted language and it provides rhetorical characteritstics that gives off profanatory feeling about the poetry. The poet is seen to have created a new poetic language that excess the standards of the limitations that Korean and Chinese marks have through the application of polysems and poliphonyic effects that foreign languages have. The mathematical and geometric signs are Lee Sang's special experimental elements that can't be seen in other literary poetries. They are conversational and the requirements for the expression of abstract artistry and esthetics. The language used in his poetry are external to those traditional poetic languages and they mix freely with other poetic elements to become an automatic technique used in the writing. Lee Sang's techniques can be considered as the pursuit of defiance and departure, freedom about literature and artistry. Moreover, the avant-garde expressionism is the literary form that demonstrated the sense of inferiority, nervousness and loneliness risen from physical pain and the abnormal relationship with women in the poet's personal life. The technique shows the longingness of the the Western culture and literature that lay dormant in the poet's consciousness and it is also the expression of ingenious that created the new guide in the Korean poetic literature, exceeding the European surrealism. Lastly, the automatic technique images that are demonstrated by the mixture of the foreign languages and Korean language are the creations of an innate poetic language and poetic literature that can't be imitated by anyone in Korean literature.

• Cross-Cultural Studies
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• v.49
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• pp.229-248
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• 2017

This paper is a study on French of Lee Sang's poems called metaphysical scandals in Korean poetry. Is poetic language he used a common poetic word or a non-poetic word in French? What kind of harmony do words and sentences composed of French have with Korean, Chinese character, and non-poetic word? Based on these questions, we analyzed a command of French, that is symbolic, geometrical, and pictorial French as well as repetitive and parallel constitution used in form of words and sentences. In Lee Sang's poems, as a result, the use of French is seen as a mixture of non-poetic word. It shows characteristics that reject traditional native language and the creation of poetry. In his poems, French is also an important factor of avant-garde poetic material and experimental creation technique. In his poems, French is used as a special tool to express internal conflicts of the poet. Lee Sang showed experimental style that could not be found in modern Korean literature by using signifier and signifed that french language has.

• Journal of architectural history
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• v.6 no.2 s.12
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• pp.53-64
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• 1997

The language of architecture is a kind of tool which helps people to experience the environment not as the thing itself but as a meaningful one. It, gathered by place, constitutes 'genius loci', as the existential structures. It, in other words, gives a thing 'cognitive quality', and serve people to 'dwell' because 'a place is a gathering thing with concrete presence.' Our environment, only when it possesses the language, presents itself as a namable thing or an understood world. Such a meaningful identification is dwelling. The modern world is a complex melting-pot. It is 'complexities' and 'contradiction'. The language of architecture is never created, rather it is selected by needs of the time and the place. In this sense, architectural design means discovery and interpretation of the poetic order of architypal form and style, and the poetic order is a way for people to dwell in the humanistic sense. These reminds me of Martin Heidegger's statement : "Architecture belongs to poetry, and its purpose is to help man to dwell."

• Korean Journal of Childcare and Education
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• v.13 no.2
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• pp.59-80
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• 2017

Objective: The purpose of the present study was to find out the development of 4-year-old children's emerging poetry composition process and features of poetic expression through their own forest experiences. This research also aims to explore the possibility of alternative poetry education for early childhood. Methods: This study collected data from one class of four-year olds through classroom observation, interviews with teachers, and the researcher's journal entries on events that occurred during forest walking activities. Results: Research findings showed that it was possible to encourage free expression of metaphors and imagination in children and they were able to share excitement about poetry with their classmates when provided with an alternative environment. One remarkable finding was that children's spontaneous writing and pleasure in poetry did not continue when given the new theme of 'Mom and Dad'. Conclusion/Implications: The results imply that to encourage the development of children's intuitive poetic words we need to be interested in how to organize and highlight the experiences of children. This study also suggests that positive methodological and teleological changes are needed for poetry education that is separate from language education.

• Korean Journal of Cognitive Science
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• v.4 no.2
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• pp.5-28
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• 1994

In this thesis we attempt to analyze modern Korean poetic texts in the franmeworks of text limgisitics and cognitive pragmatics. Both frameworks describe and explai human verbal communicantion in terms of congnitive information-processing procedures.By utilizing analytical devices provided by seven standards of textuality we can analyze any type of text,especially in terms of the cognitive operations underlying the production and reception processes.It is clamed in cognitive pragmatic framework that human ostensive inforential communication is regulated by the Principle of Relevance.We claim that the relevance-based framework of pragmatics provides evidence and rationale for those cognitive operations identified in the text linguistic framework. poetic texts involve every kind of cognitive strategies and processing procedures underlying human verbal communication.So,if modern Korean poetic texts are satisfactorily analyzed by text linguistics and cognitive pragmatics,it means that both frameworks are very useful tools for analyzing texts and that all the other text types which are less complicated than poetic text will also be analyzed by these frameworks. Researchers of poetry,and poets,are sensitive to poetic effects.They feel more of poeticity while reading poetic texts than ordinary readers do.However,these researchers or poets sometimes give different interpretation of a single poetic text.The interpretation of poetry cannot be anything,because poets write poems with particular intertions and do not just throw them out so as to be interpreted at ramdom.This thesis suggersts that the poeticity felt by the reader can be described and accounted for in a scientific way.In other words,text linguistics and cognitive pragmatics enable the researchers of poetry to become objective in interpreting poetic texts. It will be clearly shown that we have to see poetic texts from a cognitive perspective,since they are by-products of cognitive processing performed by discourse participants.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.973-998
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• 2010

This paper aims at assessing the significance of Lyrical Ballads of 1798, the agreed inaugurator of English Romanticism, in terms of such key concepts as poetic "experiments," "conversation," and the authorial function. The 1798 volume marks an interesting incidence in which an author with no tangible substantiality can wield his authorial function over his works. The volume is signed without the named proper noun-its author is neither William Wordsworth nor Samuel Taylor Coleridge. The figure of the author in this case is realized by the poems he writes; he produces, and is produced by, his works-a fact that constitutes part of the poetic experiments manifested in the Advertisement. Working under this reciprocal production, the Author of the 1798 volume and his poems are collectively aiming at establishing a new class of poetry and an interpretive community. The notion of "conversation" is a key element in the thematic, stylistic ties among individual poems. Poems of the 1798 volume effect multi-layered, "blended" voices. Readers are expected to draw out the topological interweaving among poems through the practices of dialogic reading. In this light, the sequential necessity of "The Rime" and "Tintern Abbey" should be emphasized. They are stitched together in a logic of textual placement and the transition from one to the other is never arbitrary. Most of all, they are working under the same authorial function, complementing each other, and addressing the same poetic project in different textual locations. As an inaugural work of English Romanticism, Lyrical Ballads of 1798 in fact makes so many things happen and yet again anticipates something yet to come with elusiveness. The value of this poetic experiments should be judged not only by what is claimed in it, but what it sets out to do and "how far" it will be performed, as implied in the Advertisement. The efficacy of the volume, more than anything else, is dependent upon the performative power of words.

• Journal of English Language & Literature
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• v.56 no.3
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• pp.445-459
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• 2010

William Carlos Williams discovers important sources of inspiration in the revolutionary avant-garde movements, in particular, Dada and Surrealism and attempted to embody the innovations in them in his poetic theory and practice. Williams's passion to create an indigenous American poetic work is compatible with his Dadaist experimentation with objets trouvés. Williams pays deep attention to objets trouvés, physical objects and marginalized people he comes across and transcribes his observations with poetic words freed from their instrumental contexts. In his characteristic poems written in the 1920s and 1930s, Williams records the social ruination and his task to give voice to the conflictual and fragmentary character of modernity is pursued through the Surrealist formulation of montage. In the Surrealist formulation of montage, the dialectical image is a central trope for reading the myth of modernity; it is positioned as both subject and object in the historiographic narratives of Walter Benjamin and Williams. As Benjamin tries to obliterate all traces of the author in the Arcades Project, Williams's montage poems like Spring and All only disperse argument into materialistic, dialectical images. The dialectical image in Williams's poetics becomes an organon of historical awakening so that truth can emerge from an unmediated juxtaposition of "things."

• Proceedings of the KSPS conference
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• 2002.11a
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• pp.64-69
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• 2002

This study concerns the constraints of English Poetic Meter. In English poems, the metrical pattern doesn't always match the linguistic stress on the lines. These mismatches are found differently among the poets. For the lexical stress mismatched with the weak metrical position, $*W{\Rightarrow}{\;}Strength$ is established by the concept of the strong syllable. The peaks of monosyllabic words mismatched with the weak metrical position are divided according to which side of the boundary of a phonological domain they are adjacent to. Adjacency Constraint I is suggested for the mismatched peak which is adjacent to the left boundary of a phonological domain; *Peak] and Adjacency ConstraintII for the mismatched peak which are adjacent to the right boundary of a phonological domain. These constraints are various according to the poets(Pope, Milton and Shakespeare) : *[Peak [-stress], $W{\Rightarrow}{\;}*Strength$ and *Peak] in Pope; *[+stress][Peak [-stress] and *Peak] in Milton ; *[+stress][Peak [-stress], $W{\;}{\Rightarrow}{\;}*Strength$ and ACII in Shakespeare.