• International journal of advanced smart convergence
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• v.7 no.4
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• pp.154-160
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• 2018

Sometimes, literature therapy is done by literature question. Participants naturally get the effect of literature therapy depending on when and what questions we ask. This study aims to lead the discussion of Gosijo's literature physiology ignited by the question. Gosijo, the subject of the study, described the depressed present state of the poetic narrator in the first and second line. By the way, poetic narrator asked a question in the first phrase of the last line and led the action potential. And in the second phrase of the last line, the poetic narrator called the code of sadness and the sadness code came. We have plotted this as Emotion Codon. The result of Emotion Codon at this time was that the narrative of Gosijo ignites the literature therapy mechanism through sadness.

• International Journal of Advanced Culture Technology
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• v.5 no.4
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• pp.1-9
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• 2017

This study of Cho Ji - Hoon's Poem "Falling Flowers" was attempted to find the mechanism of poetic healing and utilize it for literary therapy. In this study, I examined how Cho Ji-Hoon's poem "Falling Flowers" encoded crying. Especially, we focused on the organic relationship of each layer represented by poem and put emotional codes on the layer of functor and argument. The results are as follow. It represents the Separation Layer of 1-3strophes, 4-6strophes constitute the Time Layer, and 7-9strophes the Sadness Layer. This poem proceeds the encoding of the sentence in which the crying of cuckoo in the 1-3strophes transforms into the crying of the poetic narrator in the last 9strophe. The relation of emotional layers in this poem is in the same function relations as "(1-3strophes) ${\subset}$ (4-6strophes) ${\subset}$ (7-9strophes)". Since these functional relations consist of the encoding of sadness, encrypts emotion signals of sadness as "U+U+U" becomes "UUU". 1-3strophes' U is the cry of the cuckoo, and U of the 4-6strophes is blood cry. Therefore, "UUU" is the blood cry of poetic narrator. This Cho Ji-Hoon's poem has a Han(恨) at its base. So, as Cho Ji-Hoon's poem "Falling Flowers" is uttered, the poetic mechanism of U, the code of sadness, is amplified. Then we get caught up in the emotions we want to cry. The poetic catharsis of "crying" is providing the effect of literary therapy. In the future, it will be possible to develop a more effective literary therapy technique by developing a literary therapy program like this poetic structure.

• Journal of English Language & Literature
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• v.57 no.5
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• pp.701-725
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• 2011

This paper attempts to read "The Nightingale" as an experimental proponent of Lyrical Ballads of 1798, one that inaugurated British Romanticism. It is never accidental for this poem to come to replace "Lewti" at the last moment of publication and to be tied to the poetic principles manifested in the "Advertisement" of the 1798 volume. The speaker of this poem, for example, is an ordinary man, who presents himself as a friend and a loving father. Opting for conversational styles rather than blindly copying literary conceits, he even incorporates an evening episode he happens to recall into a legitimate subject matter. The notion of "conversation," which appears in the subtitle, offers a key to figuring out the ideal of poetic language, the figure of the poet, and compositional procedures Coleridge and Wordsworth proposed in their collaborative project. "The Nightingale" can be a dubious, if not totally failed, poetical journey to subverting an incidence of misnaming acts. He finally reaches the limits of poetic figuration in a process of textualizing nature. The leitmotif of "In nature there is nothing melancholy" testifies to the fact that the bird nightingale, which the narrator is hard at work to rename as a joyous bird, is nothing but a poetic metaphor. "The Nightingale" is more likely to be a revisional, regenerative performance based on the strategy of conversation than an embodiment of a daring novelty.

• Sijohaknonchong
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• v.42
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• pp.151-185
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• 2015

The purpose of this study is to reveal the aspects of "Children" in Saseolsijo and its historical implication in Korean Classical Poetry. What was discussed can be summarized as follows: There are two types of children in Saseolsijo, one is silent, and the other is speaking. The silent child characteristics are such as being called and addressed by the poetic narrator, customary audience, passive attitude, etc. The speaking child characteristics are speaking subject, active attitude as sign of modernity. These phenomenon simply expose the differences of aesthetic order. The silent children is mainly to be utilized as a device to maximize the lyricism of the text as an ideologically product by the inner request of the poetic narrator and show identification discourse. The speaking child, gives the dynamics in text by heterogeneous discourse and informs aesthetic distance between "the reader and the text" as well and show distance discourse. These fragments from Saseolsijo's children are also found in previous genres. In the case of Hyangga, 'children' speak for solving others' desire but are targeted by poetic narrator as well. In the case of Goryosokyo, 'children' show activity and efforts to break forced silence by the poetic narrator through voluntary speaking. In Sijo's case, unlike other genres, some literary works show contents about disciplining children and the growth of children. However mostly targeted children by the poetic narrator are predominantly appeared from the discourse perspective. These aspects of children in previous genres including some of works in Saseolsijo are mainly associated with the appearance of medieval children. Unlike these, the new aspects of Saseolsijo's children show the cross-section of the signs of transition contemporary, from medieval to modern. Even if there are few literary works in these, speaking children with activity reveals novelty over medieval-imposed 'child-ness' by showing 'self', 'individual desire' strongly. This novelty is far from infants of the modern concept as naive and innocent children but these children are noted in that they show a part of modernity through various voices in the text, the comic(laughter), multiple point views, etc.

• Journal of Agricultural Extension & Community Development
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• v.18 no.1
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• pp.129-152
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• 2011

The study aims to investigate the meaning of the rurality in traditional three-verse Korean poem written by Sadaebu(사대부). We will discuss integration method for Rural and rurality. Rurality is not physical truth, but personal and subjective thing. The meaning of the rurality produce socially. So, the concept of the Rurality can be interpreted in many ways. Sadaebu in the Joseon period put emphasis on rural as a object of a self-discipline and govern. They compose a poem from rural life. There are various meaning related to rurality in traditional three-verse Korean poem. The rurality meaning of the Sijo written by Yakcheon and Jonjae can define union between the natural order and poetic narrator. poetic narrators accept theirselves to nature and work willingly. The host of the program must make visitors homesick and gives more energy by Sijo experience program. The most import thing is the identification of the visitor and rural. To accomplish these purpose, It needs visitors can sing a sijo by oneself.

• Journal of English Language & Literature
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• v.56 no.5
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• Journal of the Korean Institute of Traditional Landscape Architecture
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• v.31 no.2
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• pp.43-57
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• 2013

The purpose of this study is to identify potential semantic landscape makeup of "the Forty Eight Poems of Soswaewon" according to Yin-Yang and Five Elements Principle(陰陽五行論). that speculation system between human's nature and cosmical universal order. Existing academic discussions made so far concerning this topic can be summed up as follows: 1. Among Yin-Yang-based landscape makeups of the Forty Eight Poems of Soswaewon, poetic writings for embodiment of interactions between nature and human behaviors focused on depicting dynamic aspects of a poetic narrator when he appreciates or explores hills and streams as of to live free from worldly cares. Primarily, many of those writings were created on the east and south primarily through assignment of yang. On the other hand, poetic writings for embodiment of nature and seasonal scenery - as static landscape makeup of yin - were often created on or near the north and west for many times. Those writings focusing on embodiment of nature and artificial scenery as a work are divided into two categories: One category refers to author Kim In-hu's expression of semantic landscape from seasonal scenery in nature. The other refers to his depiction of realistic garden images as they are. In the Forty Eight Poems of Soswaewon, the poetic writings show that author Kim focused on embodying seasonal scenery rather than expressing human behaviors. In addition, both Poem No. 1 and Poem No. 48(last poem; titled 'Jangwon Jeyeong') were created in a same place, which author Kim sought to understand the place as a space of beginning and end where yin and yang - i.e. the principle of natural cycle - are inherent. 2. According to construction about landscape in the Forty Eight Poems of Soswaewon on the basis of Ohaeng-ron (five natural element principle), it was found that tree(木) and fire(火) are typical examples of a world combined by emanation. First, many of poetic writings depicting the sentiments of tree focused on embodying seasonal scenery and were located in the place of Ogogmun(五曲門) area in the east, from overall perspective of Soswaewon. The content of these poems shows generation and curve / straightness in flexibility and simplicity. Many of poems depicting the sentiments of fire(火) focused on embodying human behaviors, and they were created in Aeyangdan area on the south of Soswaewon over which sun rises at noon. These poems are all on a status of side movement that is characterized by emanation and ascension which belong to attributes of yang. 3. With regard to Ohaeng-ron's interpretation about landscape in the Forty Eight Poems of Soswaewon, it was found that metal(金) and water(水) are typical examples of world combined by convergence. First, it was found that all of poems depicting sentiments of metal focused on embodying seasonal scenery, and were created in a bamboo grove area on the west from overall perspective of Soswaewon. They represent scenery of autumn among 4 seasons to symbolize faithfulness vested in a man of virtue(seonbi) with integrity and righteousness. Poems depicting sentiments of water were created in vicinity of Jewoldang on the north, possibly topmost of Soswaewon. They were divided into two categories: One category refers to poems embodying actions of welcoming the first full moon deep in the night after sunset, and the other refers to poems embodying natural scenery of snowscape. All of those poems focused on expressing any atmosphere of turning into yin via convergence. 4. With regard to Ohaeng-ron's interpretation of landscape in the Forty Eight Poems of Soswaewon, it was found that poems depicting sentiments of earth(土), a complex body of convergence and emanation, were created in vicinity of mountain stream around Gwangpunggak which is located in the center of Soswaewon. These poems focused on carrying actions of author Kim by way of natural phenomena and artificial scenery.

• English Language & Literature Teaching
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• no.4
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• pp.249-267
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• 1998

"The Waste Land" is Eliot's best known poem. It was first published in 1922 and became a famous poem in modem poetry by the 1940's. The poem is a statement of his personal experience with spiritual crisis, this simple outline is complicated and universalized by being set within the structure of 'the Fisher King legend'. The fisher King legend was studied by Miss Weston in From Ritual to Romance and Sir James Frazer in The Goldon Bough which traced the vegetation myths. It explained the cycle of the seasons in relation to the death and rebirth of a god. The god died in the winter with the death of the vegetation and was reborn in the spring with the rebirth of the vegetation. Sir James Frazer reaced these ancient rituals within the Christian world. He indicated that the death and rebirth of Christ falls within the pattern of this ancient ritual. Also Miss Weston transformed that ancient ritual into Christian terms, and connected it with the Quest for the Holy Grail. Eliot used not only the title, but the plan and a good of the important symbolism of the poem from these two books. "The Waste Land" is a difficult one because of the numerous interruptions in the narrative. On the superficial level, the story covers a 12-hour period in a day. It is also in "the stream of consciousness." It might be called the internal monologue; that is, "the free association of ideas in the mind of the narrator," Eliot experiments with both the idea of time and with the stream of consciousness, He employs a number of quotations and allusion from the Classic literature. So, his technique in "The Waste Land" consists of the juxtaposition of the present with mythcism and religious symbolism derived from the past. The structure of the poem is built out of the contrasts in time. The poem illustrates his conception of the past as an active part of the present. "The Waste Land" has "a symphonic structure" composed of five parts, which are linked by the repeated themes. The theme is the death and salvation of the Waste Land. It is drawn from the Fisher King myths. Moreover, he has absorbed into the structure of this poem the language, phrases, and associations of other writers. It gave the poem the universality both of theme and of pattern. Also, his intricate and fine techniques added the universality to the poet's personal material. At last, the verse pattern of the poem follow the same basic structure as the thematic patterns. Again in symphonic style, the verse varies from section to section. The interruption of real time is associated with the flow of consciousness. Though the poem is a complex structure, there are the interweavings of a great deal of ideas into a simple, brief statement. By these poetic techniques the poem manages to have good harmony and unity between the thematic pattern and narrative structure. "The Waste Land" therefore, became the greatest poem in the 20th century modern world.