• 비교문화연구
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• 제19권
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• pp.127-147
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• 2010

Lee Chan's early poems were defined as the world of romance. His second-term poems were defined as proletarian poetry and poems written in prison when he made the romance as the core point through longing and desire for lost world. Maximizing the romance was proletarian poetry. His third-term poems were feelings of the northern countries called the spirit of Lee Chan's poems. He recognized the emotion of diaspora as the tragedy in these poems. It was remarkable time that the poet's tragedy observing and expressing the reality of colony. Afterward he wrote poems related inside withdrawal and war cooperation, finally he wrote poem after defecting to North Korea. Lee Chan showed the romance of desire in early poems and proletarian poems. Then he indicated acute scenery of the tragedy in the late 1930s' poems. In heavy situation, he moved from pro-Japanese literature to North Korean literature. However he didn't throw introspected self-reflection language to himself each his changing. But through several form of garden, he clearly showed consistent of maximizing his utopia sense. The time Lee Chan experienced was an icon which intensively indicated several features of deformed modern Korean poetic history. He was a unique poet who expressed various traces of modern Korean poetry in short time step by step. His path informed that he was a special poet who stepped the trace of many modern Korean poetry's extremes such as romantic poetry, proletarian poetry, prison poetry, pro-Japanese poetry and North Korean poetry. Likewise we can call his life as a grudge return. Because he left hometown, experienced the light and darkness of modern times and returned his hometown.

• 음성과학
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• 제11권3호
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• pp.181-192
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• 2004

The metrical structures in orally produced the poetry were generally analyzed by accent, metre and syllable. The purpose of this study is to investigate of metrical structures of Korean modem poetry using computer implemented speech analysis system. Two famous poet's poems confidential talk, Miloe and 'A buddhist dance, Sungmu' were selected for prosodic analysis. The informant is 60 years old professor in major of Korean and French poetry. The syllable structures of poems were analyzed primarily by vowel timbers, which can classified compact and diffuse vowels according to the distance of F2-F1. The perception cues of consonants were analyzed by VOT and tensity features of articulation. Rhythm is classified by dactyl, anapest, trochee, spondee and iambic. As a result, syllable structures of Korean modem poetry were mainly CV and CVC and the reading times of each lines were 3-4sec for 12 and 15 syllables. Main metre of Korean modem poems constructed the Imbic and Anapest. The break of each lines were demarcated by grammatical structure or meaning rather than phonetic structures.

• ETRI Journal
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• 제44권3호
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• pp.413-425
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• 2022

The study of literary texts is one of the earliest disciplines practiced around the globe. Poetry is artistic writing in which words are carefully chosen and arranged for their meaning, sound, and rhythm. Poetry usually has a broad and profound sense that makes it difficult to be interpreted even by humans. The essence of poetry is Rasa, which signifies mood or emotion. In this paper, we propose a poetry classification-based approach to automatically extract similar poems from a repository. Specifically, we perform a novel Rasa-based classification of Hindi poetry. For the task, we primarily used lexical features in a bag-of-words model trained using the support vector machine classifier. In the model, we employed Hindi WordNet, Latent Semantic Indexing, and Word2Vec-based neural word embedding. To extract the rich feature vectors, we prepared a repository containing 37 717 poems collected from various sources. We evaluated the performance of the system on a manually constructed dataset containing 945 Hindi poems. Experimental results demonstrated that the proposed model attained satisfactory performance.

• 한국수학사학회지
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• 제29권2호
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• pp.89-102
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• 2016

Lee Sang, one of the representative poets of Korean Modern Poetry, wrote poems which present the existentialistic modernism in the 1920s, the chaotic era of Korean history. The characteristics of his works have been shown by various points of view. This paper especially explored the meaning and feature of mathematical expressions by numbers, symbols and other signs of mathematics in Lee's poems. His poems are composed by scientific and abstract rules in mathematics which are expressed as mathematical symbols. The paper focuses on analyzing seven poems which maximizes mathematical expressions among his poetry. This kind of work would be the one of ways to figure out the features of mathematics through literature.

• 영어영문학
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• 제58권6호
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• pp.1001-1021
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• 2012

This paper is concerned with John Ashbery's poetics of difficulty, questioning in particular the nature of communication in his difficult poems. Ashbery has an idea of poetry as 'information' to be transmitted to the reader. Meaning, however, is to be created by a series of selections among equally probable choices. Ashbery's poetry has been characterized by resistance to the interpretive system of meaning. But the resistance itself, as I will argue, can be an effective medium of communication as the communicated message is not simply transmitted but 'selected' and thus created by the reader. In Ashbery's poetry, disruptive 'noise' elements can be processed as constructive information. What is normally considered a hindrance or noise can be reversed and added to the information. In Ashbery's poems, random ambiguities or noises can be effectively integrated into the final structure of meaning. Such a stochastic sense of information transfer has been embodied in Ashbery's idea of creating a network of verbal elements in his poetry, analogous to the interconnecting web of hypertext, the most dynamic medium 'information technology' has brought to us. John Ashbery, whose poems are simultaneously incomprehensible and intelligent, employs ambiguities or noise in his poetry, with an attempt to reach through linear language to express nonlinear realities. It is therefore my intention to examine Ashbery's poetics of difficulty, from a perspective of communication transmission, using the theories of information technology and the principles of hypertext theory. Ashbery's poetry raises precisely the problem confronted in the era of communication and information technology. The paper will also show how his aesthetics of difficulty reflects the culture of our uncertain times with overflowing information. With his difficult enigmatic poems, Ashbery was able to move ahead of the technological advances of his time to propose a new way of perceiving the world and life.

• 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.

• 고전문학과교육
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• 제39호
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• pp.221-246
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• 2018

이 글에서 필자는 대략 10~17세기에 걸쳐서 일본의 상층 귀족이 화가(和歌)와 한시(漢詩)를 '혼효(混淆)'하여 창안해서 향유한 세 가지 양식의 양상과 특징을 살펴보았다. 세 가지 양식이라고 한 것은 '화한낭영(和漢朗詠)', '시가합(詩歌合)', 그리고 '연구연가(聯句連歌)'를 가리킨다. '화한낭영'은 10세기에, '시가합'은 12세기에, '연구연가'는 14세기에 각각 등장했으며, 그 후 일본 문학사에 지속적으로 영향을 끼쳤다. 화한혼효가 진행되면서 화가와 한시의 거리가 점차 가까워지더니 마침내 둘이 결합해서 한 작품을 이루게 되었다. 즉 화가와 한시는, 낭영하기에 적합한 작품이라고 해서 한데 모였고(화한낭영) 경합을 위해 작품 대 작품으로 맞섰으며(시가합) 종국에는 장시(長詩)를 구성하는 행으로 갈마드는 데까지 이르렀다(연구연가). 화한혼효는 자국어 노래를 한시에 손색이 없게 만들고자 하는, 중세 동아시아 문학사의 공통된 움직임의 일본 버전이라고 말할 수 있다. 한편 한시가 화가와 병렬, 경합 교대, 결합되면서 어떤 위상 변화가 나타났는지 확인함으로써 세 가지 양식이 존재한 시기의 한시에 대한 일본인의 태도, 거기에 상응해서 발현된 일본 한시의 특징에 대해서도 논의할 단서를 발견할 수 있다. '나'가 아닌 '좌중'의 기호, 시인의 내면이 아닌 시대가 숭상하는 내용과 표현, 자기표현이라는 서정시의 본령이 아닌 즐거운 오락을 위한 수단이라는 점이 중세 전 후기 일본 한시의 특징이고, 이러한 특징은 일본 한문학사의 저층을 흐르는 흐름이었다고 할 수 있다. 필자는 동아시아 문학사의 관점에서 중세 시기 일본 한문학사를 논할 실마리가 여기에 있다고 생각한다.

• 고전문학과교육
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• 제32호
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• pp.287-326
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• 2016

본고는 19세기 말에서 20세기 초의 문헌인 ${\ll}$해동유요(海東遺謠)${\gg}$에 나타난 편저자의 수용 태도를 살펴본 것이다. 2장에서는 작품의 목록과 배열, 구성 등을 통하여 한시의 비중이 상당한 점과 작품들이 일련의 관련성을 가지고 작품군으로 배열되고 있는 점, 기존 작품의 수용이 적극적 창작으로까지 나아간 점 등을 통해 국어시가의 노랫말을 기록하는 기존의 가집으로서의 성격보다는 시로서 한시와 국어시가를 대등하게 인식하고 시가에 대한 감상과 수용자의 인식 태도를 기록하는 시집의 역할이 크다고 보았다. 특히 기원전 4세기부터 12세기까지는 한시 위주로, 12세기 이후에는 한시와 국어시가를 함께 수록하고 있어서 국문 매체의 시대에 한시와 국어시가가 공존하는 시가사적 흐름을 잘 포착하였다. 나아가 편저자가 직접 짓거나 한역한 신출작을 소개하고 이 역시 수용자로서의 적극적 태도라는 점을 밝혔다. 3장에서는 편저자의 수용태도를 잘 보여주는 청홍점에 주목하여 그 의미를 추출하였다. 청홍점이 찍히지 않은 곳을 빼고 작품을 읽었을 때에 대화체가 약화되고 반복, 나열 등의 리듬감과 노래의 맛이 적어지는 등의 노래로서의 구술성이 적어지는 점, 내용 전개에 요긴하지 않고 장황한 설명이나 묘사는 빠지고 내용의 핵심적 전개를 보이는 점, 하층민의 삶에 해당하는 내용은 빠지고 상층 취향의 풍류를 즐기는 주제가 강화되는 점 등을 통해 노래로서의 시가가 아니라 시문학으로서 시를 읽어내는 지식인으로서의 수용 태도를 포착할 수 있었다. 이러한 분석 결과는 ${\ll}$해동유요${\gg}$가 놓여진 19세기 말에서 20세기 초의시가 향유의 한 측면이지만 특수성에 지나지 않는다고 보기는 어렵다. 본고는 공동 향유 작품의 개인화, 가창 가사의 시각적 읽기 향유의 흔적들로서 ${\ll}$해동유요${\gg}$의 문헌에 접근하였고, 이는 고전시가에 대한 수용 태도의 한 단면이자 고전시가의 수용에 대한 학습자의 태도와 관련해 교수학습 자료로도 이용될 수 있을 것이다.

• 인문언어
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• 제2권1호
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• pp.131-151
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• 2002

Park Dujin has written the nature poems through his keen sense for light and the emotion of Sinmyeong(the excited and enthusiastic mind) from his early poetry to his later poetry. His poetic emotions, with the periods of his composition of poems, are expressed in the juxtaposition of the waiting for something or the existential agony with the devout faith. But he has pursued tile monistic nature through the emotion of light and Sinmeoung. Therefore all his poems are characterized as the nature poems which expose the artistic wholeness transcending the ideology and spirit of his times. Up to the present, Korean ecological poems have been absorbed in examining and criticizing the crisis for the environmental pollution and the destruction of ecosystem. Therefore Korean ecological poems could not get out of the dualistic ecological consciousness of the opposing environment confronting between man and nature. The ecological peculiarity in Park Dujin's nature poems is not the level of the man-oriented environment or bioecology but the monistic nature which man and nature are unified. This fact can be said to be caused by the approach to the objects on the basis of the sense for light and the emotion of Sinmyeong which perceive the transcendental nature.

• 영어영문학
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• 제64권2호
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• pp.299-305
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• 2018

Near / Miss, Charles Bernstein's poetry collection, is replete with poems of distinctive styles and pluralistic forms in his idiosyncratic and artistic cosmos. With poetic antics, queerness, sarcasm, irony, and humor, the book showcases the motif of loss, chaos and trauma in postmodern America and the world. The multiplicity and multi-dimensional $M{\ddot{o}}bius$ effect in Near / Miss echo earlier Bernstein's poems, as well as poems by ancient and contemporary poets, with visual artists and musicians, and rabbis and Jewish philosophers. I argue that Near / Miss offers an apotheosis of echopoetics, which has been launched in his previous book Pitch of Poetry. Poems in the book reveal the dark and thick "pitch," namely the queer, the uncanny, the invisible, the disabled, the dispossessed, and the silenced poetic Other and make it explicit. The estrangement and alienation of $clich{\acute{e}}$ through diverse malaprops, mondegreens, non-sequiturs and fragmentations in Near / Miss aim at deconstructing the fixation of language so as to display the poetic Other. The motif of "nothingness" in echopoetics significantly multiplies its meanings. Nothingness mainly refers to the loss of origin, the defiance of tyranny, and the sublimity of the universe and the poetic Other. Melding his personal loss and misfortune, the current political discontent and the postmodern chaos in America and the world, nothingness in echopoetics resonates with American literary tradition and Zen with a healing and transforming power.