• 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.

• Phonetics and Speech Sciences
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• v.11 no.1
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• pp.9-18
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• 2019

The purpose of this study is to determine whether the mean fundamental frequency (F0) changes depending on language, task, or language proficiency for Korean-English bilinguals. A total of forty-eight Korean-English speakers (28 balanced bilinguals and 20 Korean dominant bilinguals) participated in the study. Participants were asked to read aloud two types of tasks in English and Korean. For statistical analyses, the language ${\times}$ task two-way repeated ANOVAs were conducted within the balanced bilingual group first, and then group ${\times}$ language two-way mixed ANOVAs. The results showed that the females in both bilingual groups changed their mean F0 depending on the language they used and the tasks (p<.05), whereas no significant results were found in the males in either group under any conditions. The mean fundamental frequency in the Korean reading task was significantly higher than that in the English reading task for females in both balanced and Korean dominant bilingual groups. Thus, changes in mean F0 depending on language and context may reflect gender-specific characteristics, and females seem to be more sensitive to the socio-cultural standards that are imposed on them.